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Book_____ 



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JOURNALISM 



AND 



AUTHORSHIP 

PRACTICAL AND PROFITABLE 
b a 

HOW TO MAKE MONEY 
WRITING 

E H 
MARKETS FOR MANUSCRIPTS 




HADLOCK 



EE 



J 



H 

' 

JOURNALISM 
AUTHORSHIP 

PRACTICAL AND PROFITABLE 

HOW TO MAKE MONEY 
WRITING 

NEWSPAPEK ARTICLES 

SHORT STORIES 

and Other Manuscripts 

MARKETS FOR MANUSCRIPTS 

WHERE TO SELL 
ALL KINDS OF MATERIAL 

By Ey Harvey Hadlock 

President College of Authorship 

A Complete System and Course of Instruction 
for Students and Writers 



THE UNITED PRESS SYNDICATE 

SAN FRANCISCO LOS ANGELES 



IE 



COPYRIGHT, 1917 

BY 

E. H. HADLOCK 



:J 



0GU477572 
NOV 14 1917 






Contents 



BOOK FIRST 

Page 

Preface 3 

The Metropolitan Daily 5 

The Country Correspondent 6 

Corresponding for Trades Journals . 9 

Special Feature Articles 11 

Correspondents at Centers of Power 12 

Traveling and Foreign Correspondents 13 

Don'ts from a Managing Editor 14 

Where to Find News 16 

How to Send News 18 

How to Write Up Notable Occasions 20 

Technical Terms in Press Work 22 

A Valuable Secret 24 

How to Write a News Story 26 

Turning Tidings into Gold 28 

The Journalistic Critic ' 30 

Journalism and Authorship, by F. A. Munsey 33 

How to Succeed as a Journalist 35 



BOOK SECOND 

The English Language 41 

Spelling and Grammatical Propriety 42 

Grammatical Suggestions 45 

How to Use Capital Letters 46 

How to Punctuate Properly 47 

General Suggestions to Writers 51 

The Short Story 54 

How to Construct a Short Story 55 

Preparing and Writing the Short Story 57 

Hints to Short Story Writers 60 

How to Write a Novel 63 

Plot of the Novel 64 

Scene of the Novel 65 

The Characters of the Novel 66 

How to Write a Moving Picture Play '68 

How to Write a Play 74 

How to Write Poems 79 

How to Write Popular and Sacred Songs 83 

Getting into Print, by Jack London 85 

Why Some Manuscripts are Rejected 88 

Preparation and Tools of the Trade 92 

How to Acquire Literary Style, by F. Harrison 94 

How Can I Learn to Write Well ? by J. Matthewman 96 

The Author and the Editor 99 

A Place for all Writers 100 

How to Succeed as an Author, by W. D. Howells 102 



BOOK THIRD 

Page 

Markets for Manuscripts 107 

Advertising Journals 108 

Agricultural Journals 108 

Architectural and Building 110 

Aviation Ill 

Automobile and Gas Engine Journals Ill 

Book Publishers Ill 

British Magazines 112 

Educational Journals 113 

Electrical and Other Trades Journals 113 

Engineering Publications 114 

Financial, Banking and Business Publications 114 

Fraternal Publications 115 

Fishing, Hunting and Sporting 115 

Gospel Song Publishers 115 

Hardware and Allied Trades Journals 116 

Household, Women's and Allied Publications 116 

Humorous Markets 117 

Juvenile Periodicals , 117 

Mail Order Magazines 118 

Markets for Post Cards, Calendars and Advertising Ma- 
terial 118 

Markets for Photographs 119 

Military and Marine Publications 120 

Moving Picture Journals f 20 

Music Publications and Publishers 120 

Municipal Publications 121 

Newspapers 121 

Photoplay Markets 122 

Poultry Journals 123 

Religious Publications 124 

Standard Magazines and Other Publications 125 

Syndicates 128 

Theatrical Producers-Markets for Plays 129 

Special Advanced Courses 130 



PREFACE 



THE UNITED PRESS COLLEGE OF AUTHOR- 
SHIP AND ITS ADVANTAGES 

1 Journalism is a profession and authorship a fine 
art. No vocation can be more honorable than either 
and but few so fascinating. 

The orator, the musician, the actor, stir the breasts 
and thrill the souls of thousands, but the journalist 
and author speak to millions. 

"The brilliant thoughts and thrilling words of those 
who stand before vast audiences die with the occa- 
sion or fade in memory, but the words of the printed 
page are passed on to future generations. They will 
mould the civilization of the future. They will cause 
hearts to throb again and again throughout the 
coming years. 

To be sure not all journalists and authors are 
worthy of the high calling. Some use their power 
against the highest interests of mankind, but they 
are only the exception to the rule of honor which 
holds sway over most men who today wield that 
weapon mightier than the sword. 

I wish, therefore, to assure every one of my stu- 
dents that in entering this broad field of influence, 
whether as a press correspondent, an editor and 
journalist, or as an author of stories, you have chosen 
one of the noblest and most lucrative vocations pre- 
sented to any man. But like everything else, the pro- 
fession will be to you what you are to the profession. 

Vocations do not make men, but men make voca- 
tions. Success does not seek the man, the man must 
seek success. And every one may win in any line of 
effort if he will. To be sure we may not win alone. 
Nor do we need to, for all the help and wisdom of 
the world is at our command. The experience of 



other men who have succeeded and overcome the 
greatest difficulties is now available to the students 
in the College of Authorship. 

The lessons are bound in a convenient form for the 
student to carry with him daily, and we have endeav- 
ored to condense within these covers what might be 
expanded into large and cumbersome volumes. 

In this work our aim has been to present in concise 
and practical form the best available wisdom on the 
subjects treated. 



BOOK FIRST 



Pra&ical Journalism 



LESSON NUMBER ONE. 



The Metropolitan Daily and Its Official Staff 

The organized force of a modern newspaper is 
similar to that of an army. The commander-in-chief 
of the newspaper army is the owner of the paper. 
To be snre he usually contents himself with hiring 
an Editor-in-Chief and a Managing Editor, but he is 
always the power behind the throne. Then come the 
Editorial writers, the Telegraph Editor, Exchange 
Editor, Literary Editor, Humorous Editor, Dramatic 
Editor, Agricultural Editor, Art Editor, Sporting 
Editor, Market Editor, Head Line Editor, Sunday, 
or Supplement Editor, Copy Editor, Make-up Editor, 
State Editor, Society Editor, Court Reporter, Police 
Reporter, Railroad Reporter, Fire Reporter, Staff 
Correspondents, Country Correspondents, and Spe- 
cial Correspondents. 
v These usually are all salaried positions. In New 
York the editors-in-chief and managing editors 
ordinarily receive from $10,000 to $15,000 a year. 
City editors' salaries range from $4,000 to $7,500, 
while telegraph editors receive from $2,000 to $3,000. 
Editorial writers average $5,000, but some men of 
long service and extraordinary ability receive over 
$100,000 annually. Those holding less reponsible 
positions, of course, receive smaller salaries, but all 
large papers pay their workers and their writers 
liberally. 



JOURNALISM 



LESSON NUMBER TWO 



The Country Correspondent 

In speaking of the country correspondent refer- 
ence is usually made to a person who supplies news 
of the immediate neighborhood to one or more of 
the local papers. But we will now confine ourselves 
especially to the duties of the country correspondent, 
for, although the student may never have occasion 
to act in that capacity, it is very desirable that he 
should know, as far as possible, the elementary prin- 
ciples of a newspaper correspondent. To be sure the 
method of handling news may differ in different 
localities, but the principles which govern the work 
are practically the same everywhere. 
The Weekly Paper 

Today all the small country towns have at least 
their weekly paper. This paper is usually owned 
by the editor. His corps of assistants is composed 
of a few country correspondents, some reporters, 
compositors and one or two apprentices. 

The country corrsepondent has assigned as his 
duties the writing up of the news of the neighbor- 
hood. He is supposed to have it in the hands of 
the editor two or three days before the time for 
publication. He is also requested to send in any 
later news, which should reach the editor a day 
before the paper goes to press. 

Some of the most noted editors in the country 
began their work as correspondents for local papers 
in small towns. 

Application for a position as country correspond- 
ent should be made directly to the editor of the 
paper which one desires to represent. He will 
doubtless give information as to the kind of matter 
desired and the compensation to be paid. 



AUTHORSHIP 7 

Reporting for Several Papers 

If the prospective reporter has sufficient time at 
his disposal, it is desirable that he represent several 
papers in as many different neighboring towns. In 
so doing he will get in touch with several communi- 
ties and also learn the method of work in several 
newspaper offices. 

In preparing his "copy" the correspondent should 
be very careful to write his name and postoffice 
address at the top of the first sheet. Any light cor- 
respondence paper will serve his purpose. He should 
bear in mind that a cheap quality of paper of a light 
weight may save expense, but he should never prac- 
tice extreme economy when the saving of a little 
expense gives a cheap appearance to his correspond- 
ence, or makes it in any was less legible. 

Write only on one side of the paper. Never roll 
copy ; send it flat or fold it so as to fit properly into 
the large envelope. 

Address it neatly and your part of the work is 
done. 

Model Instructions to Country Correspondents. 

A Pennsylvania paper furnishes to its correspond- 
ents a card of general instructions which contains 
much common sense advice. The instructions read 
as follows : 

News. — We want the news. Don't wait too long 
in giving it ere it is stale. If there is little or no 
news in your territory, wait until next week or until 
there is. Important personals are also desired, but 
not merely a weekly record of visits by people in 
the neighborhood. Social gatherings should be noted 
and names may be sent along of those who attended. 
Deaths should be carefully mentioned as to name 
of deceased, age, birth, relatives left, standing in 
community, burial, etc. The fact that a funeral was 
largely attended is not important as the above par- 



8 JOURNALISM 

ticulars. Local history, description of relics, etc., 
may also prove interesting reading. 

Don't in any way offend people by such items that 
you send us. It is wrong, unkind, and therefore a 
poor policy to do so. Don't fail to give authentic 
reports of public meetings, and if there is an import- 
ant happening, of special interest, do not disappoint 
us by failing to report it. We must rely on you for 
the careful gathering of particulars. Don't write 
out your opinion about things. Let people form 
their own ideas; you give the facts as accurately 
as possible. 

Mention as many names as possible and don't omit 
the poor and humble. These play an important part 
in the life of any community, and are just as much 
respected by us as the rich or prominent, everything 
else being equal ; so never slight them. 



AUTHORSHIP 9 

LESSON NUMBER THREE 



Corresponding for Trades Journals 

A "Trade Journal" is a periodical devoted to a 
specific trade or special line of business. 

Students residing in cities, near large centers or 
even in manufacturing towns, may find it to their 
advantage to act as special correspondent for such 
journals. 

The remuneration may not be large, but the cor- 
respondent should bear in mind that the competition 
is also small. 

If he has no intimate acquaintance with any trade 
represented in the journals of his community he may 
easily acquire that knowledge. 

To this end let him make a special study of the 
business represented by the papers for which he 
desires to correspond. 

Let him also secure all the desirable journals 
treating of those especial lines. Then he should 
study carefully the style and technical terms used 
by those particular papers. He will note that a 
direct and simple style is especially desirable in this 
line of correspondence. 

He should avoid the excessive use of statistics and 
make his correspondence as readable and interesting 
as possible, for in this work the style must hold the 
interest of the reader. 

Above all things he must be accurate in his state- 
ments, for a mistake may cause great loss to the 
paper and its patrons. 

The average rate of payment of this class of jour- 
nals is $3.00 per thousand words. 

A list of trades journals will be found in the sup- 
plement — Markets for Manuscripts. 

Writing for the Agricultural Press 

M. G-. Kains, in "The Editor," says there is per- 
haps no paper that presents so wide a range to 





10 JOURNALISM 

writer as the agricultural journal. Not only does it 
use articles upon every phase of farm practice and 
the management of all that directly concerns the' 
husbandman, but it invades the house, there to direct 
the good wife in the management of her home from 
cellar to attic. Nor does it stop here ; it furnishes 
wholesome mental food for the elder members of 
the family in its literary departments, and timely 
diversion for the juniors in its juvenile departments. 
It is therefore apparent that the writer need not 
possess special training along the lines of practical 
agriculture to be successful in writing for the farm 
paper. 

Although writings for the farm press should be 
largely upon farm topics, yet there are lines apart 
from the purely agricultural that have been found 
profitable. Some of these are descriptions of time- 
savers and handy devices, improved methods of 
work, and home tests for the purity of various sub- 
stances used largely by the farmer and also by other 
people. The journals are always glad to get articles 
upon such subjects, seldom hold them long and gen- 
erally' pay well for them. A list of farm journals is 
given in Markets for Manuscripts. 



AUTHORSHIP 11 

LESSON NUMBER FOUR 



Special Feature Articles 

The "Feature Article" holds a prominent' place in 
modern journalism. This is an article written on 
some special subject or person of public interest, 
containing information from every possible source. 
It is always desirable that the "feature article" 
should be accompanied by photos, drawings or 
sketches, as its value is greatly enhanced by 
illustration. 

There is always a great demand for photographs 
and biographical sketches of people before the public 
eye. This is especially true when anything extraor- 
dinary happens to them. 

Then, too, "feature articles" may be written con- 
cerning people of less note, who become suddenly 
prominent because of some achievement, crime, or 
disaster. Then the most common incidents con- 
cerning their homes, families, and immediate rela- 
tives become important. 

Well written "feature articles" should find a 
ready sale in local, state and national journals. They 
may be syndicated and sold to several papers at 
once. When this is done the writer should take care 
to have them appear in all at the same time. This 
can be done by stating on the first page of the copy 
the date when it is to be "released," viz. : published. 

The compensation paid for "feature articles" 
varies with the periodicals in which they appear, but 
the correspondent usually receives regular space 
rates of about five dollars a column for this work. 

He will also usually receive pay for illustrations 
sent at column rates. 

The student will, therefore, see the advantage of 
cultivating the "feature article" habit. Examine 
large dailies, and especially the Sunday editions for 
"feature articles." 



12 JOURNALISM 

LESSON NUMBER FIVE. 



Correspondents at Great Centers of Power. 

Most of the great metropolitan papers, such as the 
San Francisco Examiner, the Chicago News, the New 
York World, and the Boston Globe, maintain special 
correspondents not only in their state capitals, but 
also in the national capital at Washington. 

These men are usually selected from the paper's 
staff, and appointed because of some special achieve- 
ment in their work, or because of a particular apti- 
tude or qualification for this important position. 

The successful correspondent at Washington must 
be a man of wide experience and acquaintance with 
men. He must know history and be thoroughly con- 
versant with the political leaders and life of his time. 
He must be a ready and versatile writer, persevering, 
broadminded and diplomatic. The salary of a Wash- 
ington correspondent usually varies from $50 to 
$250 a week. 

The duties of the correspondent at the state 
capital are of a similar nature. He is to represent 
his paper not only for its reading constituents, but 
also before the legislators at this center of power. 
His reports and comments on the proceedings of the 
legislature will give him influence and standing at 
that center, if he work and write wisely. They will 
also be widely read throughout the state, and if his 
influence be in the right direction it may be a greater 
power for good than that of any legislator in the 
state. 



AUTHORSHIP 13 

LESSON NUMBER SIX. 



Traveling and Foreign Correspondents. 

The traveling correspondent' may be a domestic 
or a foreign representative of his paper. He is 
usually appointed by the managing editor because 
of some particular aptitude for this position. He 
must be prepared for difficult assignments at home 
and abroad. He must be willing to win by grit and 
to ' ' live in his grip. ' ' He must be prepared to render 
a write-up on important people and events in widely 
different parts of the world — to report a disaster in 
Italy or a peace conference at The Hague. 

A knowledge of stenography and photography 
will greatly enhance his usefulness. His salary 
ranges from $30 to $60 a week, and expenses. 

The foreign correspondent is usually a man of 
experience and recognized literary ability. He, too, 
must possess tact and a diplomatic mind. His salary 
ranges from $50 to $250 per week. 

The war correspondent may be both a traveling 
and a foreign correspondent, for he must be pre- 
pared to "follow the dogs of war" wherever they 
are let loose. His duties are difficult and dangerous 
in the extreme, for he must often be in the thick of 
the battle. Nevertheless this position has its charms 
for adventurous spirits and requires the highest de- 
gree of ability and resourcefulness. His salary is 
usually from $40 to $200 a week. 



14 JOURNALISM 

LESSON NUMBER SEVEN. 



Some Don'ts From a Managing Editor. 

For the benefit of my students I have received 
the following negative instructions from the man- 
aging editor of the largest daily published on the 
Pacific Coast, similar to those given to all his corre- 
spondents. 

"Don't describe local characters in such general 
terms as prominent in society, a leader in the finan- 
cial world, a well known merchant: tell what their 
association is, or omit description entirely; if they 
are well known to say so is surplusage. 

Do not say 'At the corner of Market and Sutter 
streets ' ; at Market and Sutter streets is sufficient. 

Do not coin titles for unimportant positions, such 
as Motorman Smith, Operator Brown, Agent Henry ; 
after you tell who the man is use his name without 
a handle. 
- Do not describe persons as 'old' or 'aged' unless 
they have passed more than their three score and ten. 

Never refer slightly to nationalities, localities or 
creeds. 

Never try to use a literary quotation unless you 
are sure of its accuracy. 

Do not use 'ex-'; say former governor, former 
mayor, former convict, etc. 

Do not use officer when referring to a policeman ; 
• use Policeman Smith, and capitalize Policeman when 
used as a title. 

Do not use slang. Do not say 'crook,' 'dip,' 'put 
the bracelets on. ' Other persons than ' ' Billy the Kid ' 
read the paper, and all persons are not so well versed 
in the language of criminals as some reporters. 

Do not say an 'old pioneer.' The word pioneer 
v * carries the idea of age. The same rule applies to 
veteran. 

Do not say 'colored man.' Negro or negress is 
correct. Never say 'colored lady.' " 



AUTHORSHIP 15 

Do not say ' a young man of nineteen, ' for an 
obvious reason. 

Do not say a dead man 'leaves a wife.' She is Ms 
widow. 

Do not crack jokes in a straight news story, or 
step aside from serious facts to be 'smart,' unless 
you know how. 

Do not say 'on the street.' A dog fight happens 
in a street, and John Smith lives in Oak street. 

Do not say 'Mrs. Dr. Smith,' or 'Mrs. General 
Stewart,' unless Mrs. Smith is a doctor, or Mrs. 
Stewart is a general. 

Do not misuse 'quite.' Quite means wholly, and 
to say ' quite a little, ' is as absurd as ' a number of. ' 

Do not say 'claim.' A man can 'claim' his hat, 
but he cannot 'claim' that his hat was stolen. 



16 JOURNALISM 

LESSON NUMBER EIGHT. 



Where to Find News. 

It is quite as important to know where to find 
news as to know what news is desired. 

The man with ' ' a nose for news ' ' can find it any- 
where. Yet there are some places where more and 
better news can be found than at others. 

In cities as well as in small towns, the ministers 
are valuable allies of the newspaper men. Every 
time the minister performs a marriage ceremony he 
is required by law to make a report to the Board of 
Health, or some state official, giving the name, age, 
residence, and previous condition, whether unmar- 
ried, widowed or divorced, of each person he marries. 
His reports are kept from the general public, but 
some of them, in roundabout ways, get into the 
newspapers. - 

The physician is also a helper of the newsgatherer. 
He must make a report every time he is called to 
attend a person suffering with a contagious disease ; 
whenever one of his patients dies ; whenever a case 
of murder, suicide or attempted suicide demands his 
attention, or when he assists at a birth. He may be 
as secretive as he likes, but he cannot keep his report 
away from the newspapers. 

An undertaker gives information for the corre- 
spondent as regularly as he is employed to prepare 
a body for burial. Before he can touch the body he 
must carry to the Board of Health a physician's 
certificate giving the cause of death. If the certifi- 
cate is deemed satisfactory by the authorities, a 
burial permit is issued to him, which he must show 
at the cemetery before the interment. Every report 
that the undertaker makes is available to the news- 
paper correspondent. 

In small towns the different organizations, in- 
cluding churches, lodges, boards of trade, improve- 
ment societies, literary and social gatherings, are 
all centers of interest to the correspondent. 



1 



AUTHORSHIP 17 

In large cities the places to be watched regularly 
by newspaper representatives are as follows: 

Police Headquarters. 

Police Courts. 

Coroners' Offices. 

Supreme Courts. 

City Hall, including the Mayor's Office, Alder- 
manic or Supervisors' Headquarters, City Clerk's 
Office and County Clerk's Office. 

At the Coroner's Office, which is open day and 
night, the newspaper man learns of murders, fatal 
accidents, sudden death, suicides, and attempted sui- 
cides, assaults, accidents which promise to lead to 
death, and cases of malpractice which threaten 
trouble for several people. 

The civil cases in the Supreme Court are always 
prolifiic of news. The reporter has access to the 
records, but frequently the information which he 
gets from lawyers and other attendants will put 
him on the track of more valuable information. 
Divorce cases are always productive of newspaper 
material, and sometimes furnish the writer ample 
employment. 

News of the city government is found at the City 
Hall, and the wise correspondent will be constantly 
looking out for special meetings. 

From the County Clerk's Office he will get informa- 
tion of business failures, the filing of judgments, 
the recording of mortgages and numerous other 
matters of a similar nature. 

Then there are the other courts of the city, with 
the Grand Jury rooms to be visited : 

The District Attorney's Office, the Post Office, the 
waterfront for shipping news, Police Stations, Board 
of Health Headquarters, Park Department Head- 
quarters, Fire Department Headquarters, Public 
Hospitals, Leading Hotels, County Sheriff's Office, 
City Treasurer's Office, Tax Collector's Office, and 
half a hundred other places are to be kept under the 
eye of the enterprising newspaper man. 



18 JOURNALISM 

LESSON NUMBER NINE. 



How to Send News. 

Send news by telegraph when it is of sufficient 
importance, except matter of just as much interest 
one time as another, and which no other newspaper 
is likely to get. The mails will do for that, and for 
special stories for Sunday, or other than regular news 
editions. 

When the correspondent gets hold of a good piece 
of news he frequently sends a "query" to his paper, 
something like the following: 

"Catastrophe, twenty-five persons killed, fifty 
injured; how- much?" The telegraph editor wires 
back the number of words desired and the corre- 
spondent sends in his message. Such queries, like 
new articles, are sent "collect," the paper bearing 
the expense. 

It is necessary for the correspondent to be alert 
on such oucasions, for if he does not telegraph the 
office some one else may. Anyone who comes into 
possession of a piece of news, which he thinks is 
not likely to be widely known, is at liberty to send 
queries to as many papers as he desires, without 
fear that he will be required to pay for them. No 
reply to a query from the editor means that he does 
not care for the story offered. 

Messages should be sent after 6 p. m., when con- 
venient, to take advantage of the lower night rates. 
Should a correspondent get wind of an important 
piece of news when the operator is about closing 
the office for lunch or for the night, and refuses to 
take the message, there is but one method to pursue, 
and that is always effectual. The correspondent 
need only write a message to the nearest superinten- 
dent of the telegraph company, reading like this : 

"Have thousand word order San Francisco Ex- 
aminer, operator refuses to send," and pass it over 



A UTHORSHIP 



19 



the counter with cash for payment. Invariably the 
operator will undergo a change of heart. 

When sending a story by mail, as in the case of 
feature articles for the Sunday issue, use a large 
envelope, properly addressed. Write "News Mat- 
ter," on the lower left hand corner, and see that 
your name is written both at the top of the first 
sheet of the article, and at the close of the last sheet. 
State in an enclosed note that the story is submitted 
for acceptance at the regular rates. 

If, however, you desire the manuscript returned, 
if unused, mention the fact and enclose sufficient 
postage. 



20 JOURNALISM 

LESSON NUMBER TEN. 



How to Write Up Notable Occasions. 
Weddings. 

Give full names of the bride, the groom, the 
officiating clergyman and the parents ; also the best 
man, maid of honor, or matron of honor, bride's 
maids, ushers, ring bearers or flower girls. State 
the date, place and hour of marriage ; also whether 
reception follows, and where the newly married 
couple will reside. 

The names of out-of-town persons of distinction 
and any other notable people present may well be 
given. The larger the personal element introduced 
the wider will be the local interest of the story. 

If the bride or groom is especially well known, 
or the wedding is a fashionable event, further de- 
tails should be added concerning the dress of the 
bride and bride 's maids. Engagements should never 
be reported till publicly announced, or the parties 
signify their willingness for such publicity. 

Deaths. 

"When it is necessary to report full details of deaths 
give full name, age and occupation of the deceased, 
with cause of death, date and place of funeral, name 
of officiating clergyman, and place of interment. 
Also, if desirable, give a brief sketch of the life, 
without eulogy. 

Funerals. 

In reporting funerals review briefly the details 
of the death, for the benefit of those who may not 
have seen the notice of the funeral. Give name of 
officiating clergyman and pall bearers, also place 
of funeral and burial, with a reference to notable 
people present, floral tributes, and any organization 
or societies represented. 



AUTHORSHIP 21 

Accidents. 

Accidents resulting in the loss of life, serious in- 
jury of people, or destruction of property should be 
fully reported. The names of people involved should 
also be given. 

In casualties personal details concerning the un- 
fortunate should be given, including names, ad- 
dresses, occupations and family connections. Also 
give the name of any society with which they were 
connected. 

Fires. 

Full details concerning buildings consumed should 
be given in the reporting of fires, their location, 
ownership, and value, together with the amount of 
insurance on each and the names of the companies 
insuring. 



22 JOURNALISM 

LESSON NUMBER ELEVEN. 



Technical Terms in Press Work. 

Every trade and profession has a language. of its 
own. The doctor, the lawyer and the minister fre- 
quently use terms which are "all Greek" to laymen 
in the other walks of life. So with press work and 
the publishing business in general. 

Before the student of journalism can follow in- 
telligently that vocation, it is exceedinly desirable 
that he should become acquainted with the following 
technical expressions : 

A "head" is the subject of the article standing at 
the head of the column. In the books of the office 
each head is designated by a number, ranging from 
a single line, single head column, to a head extending 
clear across the page. These heads are referred to in 
the office as single (column) heads, double heads, 
triple heads; while those especially large are called 
"scare heads." 

To "feature" is to give an article special promi- 
nence or significance. 

The "lead" to a story consists of the opening 
paragraphs. 

"Strings" are the clippings kept by the corre- 
spondent to be submitted when monthly payment is 
due. 

Linotype or typesetting machines are all desig- 
nated as "machines." 

"Solid matter" has no leads (metal strips) be- 
tween the lines. Leaded matter has one lead be- 
tween the lines, double leaded matter two, and so on. 

Indented matter is so set to leave white space 
on one or both sides of the type. 

' ' Forecasting ' ' is writing up articles or biographies 
in advance of the events which might make them 
desirable. 

"Special" is frequently written on a story sent 



AUTHORSHIP 23 

by mail or wire to designate it from the Associated 
Press or syndicate articles. 

The ' ' date line ' ' is the opening line of a story giv- 
ing the name of the town from which it is sent', and 
also the date of sending. 

"Thirty" is a term used as the close of a dispatch, 
and sometimes by editors in sending matter to the 
compositor, to signify the end. 

"Kill" means to throw out matter already in type. 

"Railroad" means to rush matter through with- 
out the usual precautions against typographical 
errors. 

The "forms are down" in a printing office when 
they are ready for printing. 

A "stick" is a typeholder, and the term is used 
to designate the number of lines held in the hand 
of the compositor. 

A "pi-line" is cast by a linotype and indicates an 
error. 

A "run" is the territory covered by a reporter. 

A "scoop" is a story published exclusively by one 
paper. 

"Time copy" is applied to clippings and other 
matter kept on hand for filling purposes and 
emergencies. 

"Release" is the term used by the correspondent 
to designate when the article is to be published. 



24 JOURNALISM 

LESSON NUMBER TWELVE. 



A Valuable Secret. 
Revealed by a Practical Newspaper Man. 

It is always helpful to the student of journalism 
to receive practical suggestions from men who 
have won distinction in the profession. The differ- 
ence between success and failure in any calling may 
depend upon little things apparently too trivial for 
consideration. But nothing is trivial to the man who 
knows how to use every factor and force for the 
accomplishment of his purpose. So the following 
suggestions from a practical newspaper man of long 
experience, who reveals one of the "tricks of the 
trade," may be invaluable help at some time. 

"The tendency of local correspondents is to send 
in too much. This is frequently due to the near- 
ness of the news. The elopement of the village 
barber with the blacksmith's wife may create a 
tremendous sensation at home, where everybody 
knows all the parties and the story may be worth 
columns in the local paper, but the people of the 
metropolis, who do not know anybody connected 
with the case, and who have been surfeited with 
stories of elopement, do not care a rap to read it. 
Any little trivial act of your congressman, or state 
senator, with whose name they are more familiar, 
is better news for them. 

"Right here is a good place "to tell a little trick 
by which skillful reporters often add interest to 
news that otherwise might go. Take the case of 
the elopement just suggested. If you can ring 
in the name of some well-known person connecting 
him in some way with the case, you may save an 
otherwise uninteresting story. 

"For example, if the blacksmith's wife used to be 
the congressman's housekeeper, or if the barber once 
saved the senator from drowning, don't fail to get 
in such facts. Sometimes they may be farfetched 



A UTHORSHIP 25 

and yet so connect the well-known name with 
the case as to make it the most important news 
factor of the story. If you cannot drag in a promi- 
nent person's name, possibly you can connect some 
historic spot with it. If the elopers met under a 
tree where a famous duel was fought, or if they 
were last seen crossing a historic bridge — inconse- 
quential things, yes, but they make the one necessary 
impression on the distant reader's mind." 



26 JOURNALISM 

LESSON NUMBER THIRTEEN. 



How to Write a News Story. 

Newspaper stories differ from all other forms of 
literature, in the fact that they are news stories. 
But while they differ from all other stories they are 
practically the same in form of construction in all 
papers. 

Instead of a plot and a climacteric scheme as 
in fiction, the newspaper story gives all the facts in 
a few brief sentences. It gives the news in the story, 
and then builds the story about the item. The news 
is the staging; the story is the structure. It is 
taken for granted that the people want the news 
first, and then a story about the news. Thus they 
can scan the opening paragraphs of a story and 
glean all they want of an item or event, if it is not 
particularly interesting to them. If it is of interest 
they read the whole story, 

The average news story might be analytically 
divided into the following divisions: 

First— The introduction, giving the main points 
of the story in brief — the event, when it occurred, 
what happened, and the people concerned. 

Second — The cause; why the event took place, 
the contributing features and the reason for the 
happening. 

Third — The effect; the results of the event and 
the .attending circumstances — the theories, opinions 
and incidents connected with the story. 

To give the student fuller information upon this 
important subject I cannot do better than quote 
the words of an acknowledged authority. 
Writing a Ne vspaper Story. 

John L. Given of the New York Sun says : 

"The articles printed in the newspapers — the 
editorials excepted — can be divided into two classes. 
First, there are stories that deal with pure news, 
accounts of fires, accidents, business failures, elec- 



A UTHORSHIP 27 

tions and a thousand and one other phases of life. 
These must be printed; the public demands them, 
and it is to supply the demand that the newspapers 
exist. The second class is made up of what are gen- 
erally called human interest stories, stories that are 
printed not so much to convey information as to 
furnish amusement, arouse sympathy, or merely to 
entertain. 

The Two Rules. 

"There are only two rules that can be employed 
in the construction of a newspaper story, and even 
these fail in application in a great many instances. 
It is with pure news stories that they have to do. 
The first is: 'Always begin your story with the 
most important fact;' the second is, 'Take up the 
various incidents in the order of their importance, 
reserving unessentials for the last.' Both the rules 
are in force in every newspaper office in the land, 
and it is highly important that the beginner keep 
them before him. 

"Remembering the two rules for writing, the 
young reporter need only turn to a high-class city 
newspaper to see how they are applied. 

"The stories that appear in the papers may be 
accepted as good examples, or at least as examples 
that have passed the scrutiny of a city editor, a 
copy reader, and a managing editor, or a managing 
editor's assistant." 



28 _ JOURNALISM 

LESSON NUMUMBER FOURTEEN. 



TURNING TIDINGS INTO GOLD 

How to Make Newspaper Correspondence Profitable. 

One does not need a college education to become 
a successful newspaper correspondent. Any intel- 
ligent person with common sense and a willingness 
to work may succeed in this vocation. Two things, 
however, are very desirable if not indispensable, 
namely, instruction and experience. We can fur- 
nish the former, you must have the latter. 

Especially is instruction desirable to save the 
student from dear experiences in marketing his 
news. There are two ways of sending news to a 
paper distant from your own town — by letter and 
by wire. Much of the news published by the large 
dailies is received by telegraph. Some of the papers, 
like the Hearst dailies, have their own private lines 
to distant portions of the world, and thus receive 
advance information concerning notable events. 

Communications by wire are called specials. Many 
communications by mail are termed specials also. 
Such articles are always accompanied by a date 
line, preceding the first paragraph. Such specials 
command good financial returns, and are usually 
paid for monthly. At the end of the month the cor- 
respondent sends in his bill for all specials and other 
matter furnished the paper and receives a check to 
cover the account. 

Syndicating News. 

An important news item may also be' 'syndicated" 
■ — sent to several papers at the same time. For in- 
stance the correspondent for the San Francisco Call 
residing in Sacramento receives information of some 
important measure to be adopted by the state legis- 
lature in that city. Instead of sending the item to 
the Call only he also sends it to the Examiner and 
Chronicle to be published the same morning. Thus 



A UTH0RSH1P 29 

instead of receiving pay for. one item from one papei 
he receives a check from three different papers foi* 
the same article. 

Most papers pay $5.00 a column for news, but 
the largest papers in the country like the New York 
World pay $7.50 or $8.00 a column. Newspapers in 
small cities pay from one to three dollars a column 
for news. 



30 JOURNALISM 

LESSON NUMBER FIFTEEN. 



The Journalistic Critic. 

How to Write Criticisms on the Drama, Music, 

Literature and Art. 

The field of dramatic criticism is very attractive 
to the student of journalism. The dramatic critic 
must mediate between the performance and his audi- 
ence. In its last analysis the criticism becomes self- 
analysis and is subjective rather than objective. 

The critic must be constantly asking himself: "Is 
it good?" "Is it true?" "Is it right?" He must 
possess practical knowledge of the technique of the 
drama and also the principles of dramatic art. For 
this reason he should read the masterpieces of 
dramatic production and become thoroughly 
acquainted with the best dramatical material of the 
day. The dramatic schools will furnish him with 
practical knowledge of the principles of dramatic 
expression. Or. he may read books on the subject 
and supplement his information by visiting classes 
in dramatic expression. 

Then, too, he should study the best plays of the 
day and master the technique of play writing. The 
public libraries usually have a number of good books 
on the subject. In addition to these books he may 
read to his advantage such journals as "The 
Dramatic Mirror" and other dramatic journals men- 
tioned in our list of "Markets for Manuscripts." 

The dramatic critic should not only be able to state 
whether the production which he witnessed was 
good, but also to tell why it was good. He should 
be able to so analyze the play as to reveal its weak 
and its strong points. 

Moreover, the critic must not only be able to judge 
accurately concerning the merits or the demerits of 
a play, he must be able to reflect the opinion and 
sentiments of his readers. He should not be slow to 
censure defects which he may discover nor should 



AUTHORSHIP 31 

he fail to be frank and honest in all his conclusions. 

In rendering his criticism he should consider the 
production as a whole. Then he should note its 
effect upon himself and others. His ability to read 
the thoughts and interpret the feelings of the audi- 
ence will be of great assistance in judging of the 
impression made by the production. 

He should consider the authorship of the play, 
the way in which it is staged and the manner it is 
acted. These features carefully analyzed, coupled 
with his own feelings and the impression of the audi- 
ence, will enable the critic to write a story just and 
convincing. 

The problems of the musical critic are essentially 
those of the dramatic critic. This position can best 
be filled by a man or woman of musical training, 
supplemented by constant reading on current musical 
productions. The critic should be a student of musi- 
cal journals and have his ear attuned to the best 
productions of the day. Moreover, he should be able 
to transfer his impressions and the feeling of the 
audience to his readers through a well written 
report. 

The literary critic must not only have received a 
reasonable literary training, but he should also 
possess the literary instinct. He, too, must keep 
abreast of the literary productions of the times. 
He must be able to tell why certain books are worthy 
of wide circulation or should be ignored as time 
wasters or vicious enemies of society. 

The art critic has a pleasant but not always an 
easy task. He must be schooled in the essentials 
of art, possess something of an artistic temperament 
and also the ability to write a convincing account 
of what he and others see and feel. He may study 
books on how to judge of art productions to good 
advantage, but he should be able to catch the heart 
throbs of those who see and think and feel, in order 
to give a good account of his stewardship. 



32 JOURNALISM 

Bear in mind that the critic in any branch of news- 
paper work should be so sure of himself that he 
may speak with authority. The fulfillment of the 
duties of a critic in a strong and faithful manner 
will bring as a reward satisfaction and the adequate 
remuneration of the faithful worker. 






AUTHORSHIP 33 

LESSON NUMBER SIXTEEN 
Journalism and Authorship. 

By Frank A. Munsey in Munsey's Magazine 

y The great thing in journalism is to have something 
to say, and, to the man or woman that sees things, 
the world is full of interesting themes. Style is of 
minor importance; it is the garnishing of the dish, 
not the food itself. 

The style that means most is that which comes 
from a man's own soul. Every one who cuts any 
figure in life has his own individuality, and it is this 
very individuality that gives character to style and 
lifts it out of the rut of the machine-made stuff. No 
man gets very far with the public who squares his 
work to the slant of other writers. — ' 

We receive for our magazines an average of three 
thousand manuscripts a month of one kind and 
another. Ninety-five per cent of them are copies in 
style and form and atmosphere. They are colorless 
imitations. 

The essential thing in good literature is to have 
something to say, and to say it simply and clearly — 
to say it with courage and conviction, and in your 
own individual way. Put fancy into it, put intensity 
into it, put honesty into it, and you will come pretty 
close to producing something that people will wish 
to read. 

The best way to tell your story is to plunge right 
into it, and let the atmosphere take care of itself, 
which it is sure to do in good time. The closer you 
can write to the way you talk, or the way you should 
talk, the closer you will come to interesting the 
reader and to attaining a good literary style. 

If you try to be literary, you will be nothing; if 
you try to be simple and direct and earnest, you may 
be literary. 

You can not produce literature with the compass 
and the square. Neither can the chemist give you 
a formula for it. It is not a question of so much 
atmosphere with certain other ingredients to a given 



34 JOURNALISM 

quantity of idea. Literature must be in the theme 
itself as well as in the handling. You can not write 
poetry about a rotten log or found literature on a 
cow pasture. 

The Great Field of Fiction. 

The great field today for writers is fiction. There 
is not half enough to go around. Publishers all over 
the world are reaching out for both short and long 
stories. Good ones are extremely difficult to find. 
Prices have gone up and up, but the supply does not 
begin to equal the demand. 

Our people are voracious readers of fiction. Noth- 
ing appeals to so wide a class or gives so much 
pleasure. Love, romance, mystery, adventure, will 
never lose their charm. They are as fresh today with 
the human heart as they were in old Pompeii and 
countless ages before. 

I wonder that more do not take up fiction as a 
life-work. There can be no more attractive occupa- 
tion. Indeed there are few so fascinating, and there 
is no training that so well fits a man for strictly 
literary work as that of journalism. A few years of 
newspaper reporting and experience in the editorial 
room are invaluable assets to the story writer and 
the novelist. 

The writer 's calling has an elevating effect on him. 
He is all the while dealing with letters. He is in the 
field of knowledge, and necessarily associates with 
men of education. Association is one of the most 
potent forces in life. No man is so strong that he is 
exempt from its influence. The atmosphere of the 
editorial room and the library, and the associates one 
meets there, unconsciously quicken the intellect. 
Skill at the forge and in the shop is hidden from the 
public eye. It attracts little attention and is known 
only in a narrow circle. The same degree of skill in 
journalism places a man well before the public. 
With the artisan it is more a matter of hand skill 
than of head skill. Literary work makes a man grow 
upward. We grow as we think and work. 



AUTHORSHIP 35 

LESSON SEVENTEEN 



How to Succeed as a Journalist. 

By Chas. H. Taylor, Editor of Boston Globe. 

How to succeed in life is a very hard question to 
answer. I think that hard work has been the chief 
reason for success in the lives of most men and 
women. 

The best rule for success in life that I have ever 
found is to do a little more than is expected of you. 

Whatever your position in life may be, whether in 
an office, factory, store or workshop, under any and 
all circumstances, do a little more than is expected 
of you, and you will never be overlooked, be the 
establishment large or small. 

In my own case I owe my entrance into journalism 
wholly to the fact that I was industrious and willing 
to work. I naturally had that ambition, hence I do 
not state it as a quality for which I am entitled to 
any great credit. I was employed as a hoy in an 
office where I had very little to do, and got very 
little for it, to-wit, $1.50 a week. A schoolboy friend 
of mine was at work in a Boston newspaper office, 
where he had to work through the day and four 
nights in the week until 10 or 11 o'clock. For his 
services he was receiving $3 per week. As he was 
always groaning because he was overworked, and I 
was complaining because I did not have enough to 
do, I proposed to him that we exchange places. I 
introduced him to the firm for which I worked, and 
then went and applied for his position, and secured 
it. I worked long hours then, and did for many 
years afterward. For all kinds of success one has 
to pay a price equal to the result. 

One of the most successful men I have ever known 
won his position and a large fortune because he 
possessed certain qualities which would have 
attained success in any profession or occupation. He 
possessed industry, ambition ; he was economical ; he 



36 JOURNALISM 

was honest and truthful, and he was always just 
and helpful to others. 

' To succeed in journalism one needs about the same 
qualities that are required in the other professions, 
or most any kind of business. Men who are born 
journalists, like those who are born physicians, or 
poets, or preachers, or mechanics, or great traders, 
find it much easier to succeed than men who have not 
great natural aptitude. Journalism offers three dis- 
tinct careers, a literary, a business and a mechanical. 
Men can be trained for either of these divisions. The 
measure of success which can be secured depends 
upon the ambition, the industry and the fighting 
qualities of the individual. There is no royal road 
to success. It is hard to tell exactly what special 
lines of study and investigation are required for each 
of these divisions. Men who have natural qualities 
and special tastes will easily excel in that for which 
they are best fitted. The ablest and most successful 
men ana women will work out their salvation in 
their particular field. 

I might sum it all up saying, as Rudyard Kipling 
said the other day in reply to a question by a young 
author as to what he should do to succeed. "Keep 
on trying till you either fail or succeed." 

It may be, however, that when I was asked to 
write this article on "How to Succeed as a Journal- 
ist" it was expected that I would give some practical 
hints to that large class of young Americans whose 
ambition it is to become efficient writers for the 
daily press, and eventually graduate to editorial 
positions. That is to be sure, only one branch of 
journalism, but no doubt it is the one that is most 
attractive to young men just starting out in life. To 
such young men, I may offer, perhaps a few helpful 
suggestions. 

To begin with, a young man who proposes to enter 
the wide, yet keenly competitive, field of reportorial 
and editorial work for the daily press will do well 



AUTHORSHIP 37 

to be quite sure that he has an aptitude for such 
work. 

v ' The idea that I wish to convey is that the highest 
success as a reporter or editor is not to be hoped 
for by any man whose temperament and abilities are 
not well suited to the peculiar work which news- 
paper reporters and editors have to do. There is 
such a thing as the "journalistic temperament." 
There is such a thing as "the nose for news," by 
which term is meant a quick, practically instantan- 
eous appreciation of what is news, and how much 
value one piece of news has when compared with 
another piece of news that comes in at the same time. 
This faculty of knowing what news is, and of weigh- 
ing its relative value and importance, is closely 
allied to another] equally necessary, namely, the 
faculty of seeing where a good piece of news may be 
dug out and brought to the surface right in the nick 
of time, when it is most interesting and valuable. 

It requires a broad and comprehensive mental 
taste to be an efficient member of a staff of news- 
paper writers. Men whose minds naturally tend to 
some one line of thought should avoid the newspaper 
field, because a newspaper is a kaleidoscope, in 
which the topics to be written about are changing 
every day. Today war is the foremost topic, next 
week the Klondike will be at the front again, and a 
little later it may be that yachting or base ball will 
be the all-absorbing theme. Suddenly, in the fall, 
the scenes shift, and politics will be the staple news 
of the day. 

Hence it follows that a newspaper writer who aims 
to rise to any of the higher editorial positions must 
have a wide range, not only of information, but of 
sympathy. He must be able to know something of 
a great many things rather than know any one thing 
profoundly. He must be able to switch his train of 
thought from one track to another suddenly, and to 
throw his pen with something like equal intelligence 



38 JOURNALISM 

and spirit upon half a dozen different subjects within 
the same week. It follows, therefore, that success 
as a writer for the daily press will be greatly helped 
by wide rather than deep reading. I do not mean 
by this to say that the writing journalist should 
know "a little of everything and nothing much,'' 
but only to say that if he is deeply read and thor- 
oughly informed on one topic only — say on politics, 
for example — he will never achieve success as an all- 
round newspaper man. 

I think no young man contemplating a career as a 
reporter and editor will make any mistake in lay- 
ing a foundation by a course of reading which will 
acquaint him, first with the history of his own coun- 
try ; secondly, with the history of his own State and 
city; thirdly, with the history of England, and 
fourthly, with a general knowledge of the present 
condition of the leading European nations, enough to 
enable him to feel that he is informed correctly as to 
their relative population, wealth' and resources, and 
the general drift of their present policies in relation 
to other countries, and particularly in relation to our 
own. Twelve months of close reading, giving to it 
from three to four hours a day, making notes of the 
main points as he goes, will be well given to this 
preparatory work. 

This is a scientific age, and he should study the 
popular sciences sufficiently to enable him to write 
an intelligent account of a new electrical machine, 
or a new locomotive. If he aims to become an edi- 
torial writer, then all knowledge is his proper 
province, and he should never consider his education 
finished, but should read omnivorously. It is true 
of newspaper writing as of everything else, that 
what a man does not know he can not tell, and it is 
only the subjects with which a man is familiar that 
he can readily write about with credit to himself or 
profit to his reader. 

Beyond these things, the successful newspaper 



AUTHORSHIP 39 

writer needs to cultivate the art of making friends. 
He must learn most, after all, from men, not books. 
It is very important to him to gain the confidence of 
public men, official and unofficial — of all sorts of 
men and women who have news to give and informa- 
tion to impart. To this end he must learn the mean- 
ing of the little word "tact." It requires tact above 
all things to win the personal confidence of people 
and obtain from them the assistance that is con- 
stantly necessary to be obtained in gathering news 
and preparing articles for the daily press. "^ 

I do not know that I can say anything more of 
practical value to young men who intend to try 
their chances on the reportorial and editorial side of 
journalism. I may add. however, that the same solid 
qualities of character which help men to success in 
other fields of work will help them in this. 



BOOK SECOND 



Profitable Authorship 



LESSON NUMBER EIGHTEEN 



the: English language; 

The English language is a composite tongue. In its 
rich vocabulary one finds words from the four corners 
of the earth; for the English people have penetrated 
all the world. 

But our English of today is made up largely of 
Anglo-Saxon words and Latin derivatives. Among 
the thirty-eight thousand words in our language, about 
twenty-three thousand are of Anglo-Saxon origin. 
Among the rest there are many words which claim a 
Greek origin, but the large proportion are of Latin 
derivation. 

Our stoutest and strongest words contain the blood 
of the hardy Anglo-Saxon race. The names of the 
most striking objects in visible Nature and the chief 
agencies at work there are Anglo-Saxon. The language 
gives us the names of the heavenly bodies, the sun, 
moon, and stars, and three out of the four elements, 
earth, fire, and water ; to three out of -four seasons, 
spring, summer, and winter, and to all the natural 
divisions of time except one, such as day, night, morn- 
ing, evening, twilight, midday, sunrise, and sunset. 
"Many of its expressions concerning natural objects are 
extremely poetical. To the Anglo-Saxon we are also 
indebted for the names of light, heat, cold, frost, rain, 
snow, hail, thunder, lightning, as well as most of the 
objects which form the component parts of the beau- 
tiful in external scenery, as sea and land, hill and 
dale, wood and stream. Here also do we find our 



42 JOURNALISM 

tenderest terms and the strongest and most powerful 
expressions of feeling; the names of common emotions 
and family relations and the deepest expressions of the 
soul. 

It is also the language of commerce and everyday 
business. Many of its terms are short, crisp, forceful, 
and as pointed as arrows from Northman's bow. In 
fact, our most virile and energetic language comes from 
the Anglo-Saxon. Our politer forms of speech, our 
terms of diplomacy and drawing-room expressions, 
have been given us by the Grecian and the Latin 
tongues. For these politer people of the Latin race 
the student need have but little concern. His chief aim 
should be to use words that convey thought, express 
ideas, and voice deep feelings ; words that throb with 
life, breathe with power, and burn like fire. Such are 
not the long, high- sounding terms of Latin derivation, 
but the pure Anglo-Saxon words and phrases which 
have held sway over the minds and hearts of the 
most energetic people of the world. 



LESSON NUMBER NINETEEN 



SPELLING AND GRAMMATICAL PROPRIETY. 

Spelling and grammar are supposed to be among the 
acquired possessions of nearly every one who enter- 
tains literary ambitions. And yet, some noted authors 
have won success without great proficiency in either 
of these directions. Both, however, are very import- 
ant. If the student has never been educated in spelling 
he should secure some small dictionary and master its 
contents. He need not devote long hours to its study 
each day, but by taking a few pages daily for his lesson 
he will easily acquire valuable information in a short 
time. There is no better habit for any one who desires 
to be accurate in the use of words than the "dictionary 
habit." This study adds to one's vocabulary, teaches 
him orthography and to be particular in his use of 



AUTHORSHIP 43 

words. It is also a very interesting study after one 
has pursued it for awhile. He does not need a large 
"Webster" or "Century Dictionary." They are too 
cumbersome. The "Students' Standard," published by 
Funk & Wagnalls, is the best medium-sized dictionary. 
And their "Vest-Pocket Standard Dictionary" is, to 
my mind, the best small dictionary. It contains nearly 
all the words one needs, and is so convenient that one 
can study it on the cars or in any public place where 
leisure is forced upon him. 

Then, too, every one of literary tastes should have 
a usable knowledge of grammar. I say usable, for 
there is a vast difference between knowing grammati- 
cal rules and knowing how to write. The best educa- 
tion in grammar is not learned from text books, but 
from people. Cultivated people always speak prop- 
erly, though they may not know the first rules of 
grammar. Listening to public lectures, sermons, and 
addresses is helpful to the student. Also reading good 
books with this thought in mind, as well as association 
with cultivated people, will all increase the student's 
accuracy of speech or writing. But in addition to these 
helps he should'have daily practice in writing. 

As a foundation for the student's efforts in this 
direction I would call his attention to the following 
general principles, too often violated by people who 
have passed through the grammar grades in school : 

I. In determining the number of a verb, give atten- 
tion to the idea which is embraced in the subject, or 
nominative. Whenever the idea is plural, whether it 
be expressed in one word or a hundred, however con- 
nected, all verbs relating to it must be made to agree, 
not with the numbers of the word or words-, but with 
the number of the ideas conveyed by the words. 

II. In the use of pronouns the same is true. The 
number of pronoun must coincide with the idea con- 
tained in the word, or words, to which the pronoun 
relates, e. g., "Each of them in his turn receives the 
benefit to which he is entitled." "Every person, what- 



44 JOURNALISM 

ever be their (his) station, is bound by the duties of 
morality." 

III. In the use of words and verbs which express 
time, care should be taken that the proper tense be 
employed to express the time that is intended. Even 
some good writers violate this rule. The author of 
Waverley Novels has this sentence : " 'Description,' he 
said, 'was (is) to the author of a romance exactly what 
drawing and tinting were (are) to a painter.' " 

IV. Whenever several verbs belonging to one com- 
mon subject occur in a sentence, the subject or nomina- 
tive should be repeated whenever there is a change 
in the mood, tense, or form of the verb. 

V. Care should be taken in the use of the compara- 
tive and superlative degrees. When but two persons 
are compared never use the superlative, as in the fol- 
lowing sentence : "Catherine and Mary are both well 
attired ; but, in their appearance, Catherine is the 
neatest (neater), Mary the most (more) showy." 

VI. Transitive verbs should never be used in the 
passive form. The best writers never say, "John was 
gone" or "The tree is grown" — John had gone — The 
tree has grown. 

VII. In using the irregular verbs one should dis- 
tinguish between the imperfect tense and the perfect 
participle. It grates on the cultivated ear like filing 
a saw to hear people say, "He done it at my request." 
"He run a great risk." 

VIII. The negative adverb should be followed by 
the negative conjunction. "The work is not capable 
of pleasing the understanding, or (nor) the imagina- 
tion." The following sentence is evidently faulty : "I 
can not deny but that I was in fault." 

IX. All parts of a sentence should be so con- 
structed that there shall appear to be no want of 
agreement or connection among them. Thus in the 
sentence, "If a man have a hundred sheep and one of 
them goes astray," we have a disagreement between 



AUTHORSHIP 45 

have, the subjunctive, and the indicative goes. No defin- 
ite rules can be given here, but a good ear and com- 
mon sense should be sufficient guide. 



LESSON NUMBER TWENTY 



GRAMMATICAL SUGGESTIONS 

The student should avoid involved and clumsy sen- 
tences. Do not say, "The object your brother had in 
writing the letter," but "your brother's object in writ- 
ing the letter." 

Prefer "Nobody's else book" to "Nobody else's 
book." Prefer "The father of John, William, and 
James" to "John, William, and James's father ;" "Why 
he should have suddenly renounced his faith" to "Why 
he should suddenly have renounced his faith." 

Do not use like for as. Say, "As did Nero of old, 
so," etc. ; not "Like Nero of old," etc. 

It is awkward to say, "This is a far richer man than 
his brother." "This man is far richer than his brother" 
is better. 

The or in whether — or may be omitted, but good 
use advises that it be expressed. Thus — "I do not 
know whether he will come or not" is better than "I 
do not know whether he will come." 

Do not say, "No greater man or wiser a man ever 
lived," but, "No greater or wiser man." 

Use will and shall with discrimination. A good rule 
in the choice of these words is this : "If the speaker is 
nominative to the verb, and also determines the accom- 
plishment of the idea expressed by the verb; or, if 
the speaker neither is nominative to the verb, nor deter- 
mines the accomplishment of the idea expressed by 
the verb, use will. In all other cases use shall. Say, 
"It should seem that he has done so"; not, "It would 
seem that he has done so." Say, "I shall be pleased to 
see you" ; not, "I ivill be pleased to see you." The idea 
of willingness, or volition, is expressed in the word 



46 JOURNALISM 

pleased. To repeat the same idea in will would be 
tautology. 

Who or which may sometimes, to avoid undue repe- 
tition, be used for that; but that ought never to be used 
for who or which. After personal pronouns prefer 
who or which. "He who is wise," etc. After the con- 
junction that prefer who or which; e. g., "He said that 
the man who saw him," etc. 

Do not say none were. None was is proper, because 
none is an abbreviation of no one, and therefore 
requires a singular verb. 

In the construction of sentences be simple and direct. 
Three things should be observed — purity, propriety, 
and precision. Purity consists in the employment of 
pure English words, and English idioms. Propriety 
in writing consists in the use of the accepted words 
and expressions, as used by the best authors. And 
precision means the writing of clear, concise state- 
ments of thought, perfectly intelligible to every reader. 

The pure sentence contains no words from dead or 
foreign languages. The proper sentence contains no 
low or slang expressions, technical terms, or ambiguous 
phrases. The precise sentence expresses the exact 
thought of the author. 



LESSON NUMBER TWENTY-ONE 



HOW TO US^ CAPITAL LETTERS 

The proper use of capital letters is an indication of 
culture. To omit them where they should be used 
proclaims the ignorance of the writer, and to use them 
without discrimination reveals a serious lack of edu- 
cation. 

"The following simple rules will greatly assist the 
student in using capital letters properly: 

The first word of every sentence should begin with a 
capital. The names of months and the days of the 
week should begin with a capital. 



A UTHORSHIP 47 

The names and appellations of Deity, as God, % the 
Holy Spirit, Providence, and the Supreme Being 
should begin with a capital. 

All proper names, such as the names of persons or 
places, rivers or mountains, cities and countries should 
begin with capitals. 

The first word of a direct quotation should begin 
with a capital. 

The principal words in the titles of books and all 
subjects should begin with a capital. 

The first word in every line of poetry should begin 
with a capital. 

The pronoun "I" and the interjection "O" are 
always capitalized. In fact any words especially em- 
phatic in any title or subject should begin with a 
capital. 



LESSON NUMBER TWENTY-TWO 



HOW TO PUNCTUATE PROPERLY 

Punctuation is very essential in conveying the mean- 
ing of sentences. Mistakes in punctuation sometimes 
work havoc with a good composition. A Mr. Sharp 
once engraved a portrait of a certain Richard Brothers. 
He sent with it a statement intended as a compliment 
to the subject. Imagine the surprise of the Reverend 
Mr. Brothers when he read the accompanying note 
punctuated thus: "Believing Richard Brothers to be 
a prophet sent, by God I have engraved his portrait." 

The student will be materially helped if he will 
remember that marks of punctuation are used to denote 
inflections of the voice in reading a composition aloud, 
and to express the meaning of the written words. They 
should be used sparingly and not thrown together like 
potatoes in a hill, all sizes and shapes awaiting assort- 
ment. 

A recent writer has wittily said on this subject: "In 
punctuation cultivate the period as you would cultivate 



48 s JOURNALISM 

the rose. Use as many as you can without reminding 
your readers of a convict breaking rocks on a rock 
pile. A comma occasionally is all right; there is no 
harm in a comma but you should keep it at arm's 
length like a suspicious acquaintance, and never permit 
it to be on aught closer than speaking terms with you. 
As to semicolons and colons treat them as strangers." 
There is some wisdom in these words. Neverthe- 
less we must use all the marks of punctuation some 
time and a few general rules may help us to use and 
not to abuse this essential form of expression. 

POINTS ON PUNCTUATION 

Use a comma before or, when the expressions be- 
tween which it occurs refer to the same person or 
thing. Thus : "Jones or Smith was there" (no comma) ; 
but,- "Saul, or Paul" (comma). 

Put a comma after a proposition forming the subject 
of a verb. Thus : "That he went, is not certain." 

Use no comma after short and closely connected ad- 
jectives qualifying the same noun. Thus : "A good 
old hale hardy man." 

Use a comma before a quotation closely dependent 
upon such introductory words as say, cry, tell, e. g. : The 
man said, "I am an American." (With such quota- 
tions, especially in brief, the quotation marks are 
generally omitted.) Before a direct quotation, i. e., 
one not closely dependent upon introductory words, 
such as say , will, cry, etc., use a colon ( :). When the 
quotation is poetry a dash ( — ) often follows the 
colon ( :). 

As a general rule, the subject of a verb must be 
expressed in every clause preceded by a semicolon ( :). 
But when there are several clauses or phrases marked 
off by semicolons, the subject may be omitted to avoid 
repetition. The subject of a verb may be understood 
before a comma. 

Use a comma usually when any words of the sent- 
ence could be omitted without destroying the sentence. 
Parenthetical clauses should be marked off by commas. 



AUTHORSHIP 49 

"The King, who was a noble man, sat grandly on his 
throne." Also use commas to indicate any short pause 
or omission, but do not use them too freely. 

Use a semicolon, and not a comma, in the following 
cases: (1) Before reasons; e. g., "Economy is no 
disgrace; for it is," etc. (2) Between two opposite 
clauses, when an adversative conjunction introduces 
the second clause ; e. g., "Feathers swim on the surface ; 
but gold sinks to the bottom. 

A colon ( :), not a semicolon, should be used when 
the clause or phrase which follows the remark ex- 
presses an effect, or when it is in the form of an 
analogy, or is a parallel to what it precedes. "He lived 
a noble life: he died a happy death." "The flowers 
bloom and wither : so it is with the life of man." In 
fact a colon should be considered a little period, or a 
substitute, which may take its place occasionally. 

Ordinarily use brackets, and not parentheses, when, 
in a quotation, you wish to insert words improperly 
omitted by the author. Also when you wish to insert 
words omitted by yourself. "The man [Mr. James] 
was very rich." Parentheses could also be used in 
this case, and should be employed usually where ex- 
traneous words are inserted. 

When both brackets and parentheses are employed, 
the brackets enclose the parentheses: [( — )]. 

Parentheses, bracket, and dashes do not affect the 
general punctuation of the sentence in which they are 
used. 

A punctuation mark may be used before, but should 
never follow a dash. 

The question mark (?) is to be used after every 
direct question. "I suppose, Sir, you are a clergy- 
man?" Also after every sentence which contains a 
question; as, "What have you in your hand?" 

The apostrophe is an elevated comma, placed over 
a word to denote the omission of a letter, or letters; 
as "John's," tho' " for though; "I'll," for I will. 
Plurals of two, three, etc., are written without apos- 



50 JOURNALISM 

trophe; as, "Twos," "threes." But when the figures 
are used the apostrophe must be inserted — 2's, 3's, etc. 

Words are to be hyphenated when the second sub- 
stantive, expressing a compound idea, has lost or 
changed its accent: — shop-builder, iron-worker. The 
hyphen must also be put at the end of the line when a 
word is divided : — extraor-dinary. But the letters of 
a syllable must never be divided ; as, ext-raordinary. 

The dash ( — ) was originally used to express a 
sudden stop, or change of the subject. But now it is 
employed by many writers as a substitute for most all 
of the other marks : being used sometimes as a comma, 
semicolon, colon, period, etc. It is generally used in 
newspapers in place of parentheses, except in certain 
easily understood cases. 

The exclamation point ( ! ) should be used not only 
to express sudden emotion, but also feelings of sad- 
ness, awe, and reverence; as, "Ah me! how soon we 
pass !" "O blissful day !" 

Marks of quotation (" — ") should accompany every 
introduction of another author's words : inverted com- 
mas (") being placed at the left, and apostrophes (") 
at the right of the quotation. When a quotation con- 
tains several paragraphs, inverted commas should be 
used at the beginning of each paragraph, but the 
apostrophes should be omitted after all the paragraphs 
except the last. The same rule applies to several 
stanzas of poetry in one quotation. A quotation within 
a quotation is indicated by single marks — " 'thus.' " 

The section mark (§) is not often used, but may be 
employed to designate the separate sections of a com- 
position. 

The paragraph mark (jf) may be used for a similar 
purpose, but is chiefly employed by modern writers to 
designate on the manuscript where paragraphs should 
be made. 

It is proper here to add, that every composition 
should be carefully divided into paragraphs, each para- 
graph denoting the beginning of a new subject. Long 



AUTHORSHIP 51 

paragraphs are tiresome to the eye and the mind. 
Therefore, multiply paragraphs as frequently as con- 
sistent. Be sparing with most marks of punctuation, 
but be liberal, not lengthy, with your paragraphs. 

The student should also understand the principles 
of underscoring words in manuscripts. An underscore 
is an emphasis. Therefore, do not underscore words 
in your manuscript that you would not especially em- 
phasize in your speech. 

A single line drawn under a word indicates that 
it must be set by the compositor in italics. Two lines 
indicate small capitals. Three lines indicate large 
capitals ; as, " 'Victory, victory, VICTORY,' I cried." 



LESSON NUMBER TWENTY-THREE 



GENERAL SUGGESTIONS TO WRITERS 

Never write for publication unless you have some- 
thing to say. In other words be conscious of a purpose 
in writing. 

Never write about commonplace things in a com- 
monplace way. Some one has said that to be successful 
one must, "Either write new things in an old way, or 
old things in a new way, or new things in a new way." 

Authors as well as newspaper men should cultivate 
crispness and brevity. They should stick to short 
words, short sentences, and short paragraphs. 

To avoid confusion report a speech in the first, not in 
the third person. 

Avoid words with several meanings. 

Avoid the excessive use of adjectives. 

Avoid prospective use of it. Say, "To give is good," 
not "It is good to give." 

Avoid ending a sentence with a preposition. It is 
perfectly proper at times, but should be rather an 
indulgence 'than a regular practice. 

Avoid the excessive use of there is, there are, there 
will be. 



52 JOURNALISM 

Place emphatic words in emphatic positions : at the 
beginning or end of the proposition. "Coward that he 
was, he was forced to fight," is much stronger than, 
"He was forced to fight, although he was a coward." 

Avoid short, "choppy" endings, which spoil the 
rhythm that should exist even in prose. 

Avoid a monotonous final emphasis. Express your 
ideas occasionally in questions. Also cast your thoughts 
into other forms which will break the monotony of 
discourse. 

Cultivate metaphors for the sake of brevity, and 
variety for the sake of interest. 

PREFERABLE WORDS AND PHRASES 

Prefer approve to approve of. 

Prefer aside to apart. "He took me aside." "He 
took a clock apart." 

Prefer arise to rise. "Greece arose from her ashes." 

Prefer begin to initiate. 

Prefer begin to commence. 

Prefer become to grow — "He becomes rich and 
wise." 

Prefer come into collision to collide. 

Prefer believe to think — "I believe it so." 

Prefer body (dead) to corpse or remains. 

Prefer buy to purchase. 

Prefer coffin to casket. 

Prefer controverter to controversionalist. 

Prefer dwell to live or reside. 

Prefer enlarged to dilate upon. 

Prefer forbid to prohibit. 

Prefer forward, backward, toward, to forwards, 
backwards, towards. 

Prefer graceful to elegant, when speaking of the 
body and its movements. 

Prefer Hebrew to Jew, when speaking of the race. 

Prefer house to residence. 

Prefer inform to advise (in letters, etc.) Advise 
has a double meaning. 



AUTHORSHIP 53 

Prefer kinsman, kinswoman, kinsfolk, to relative, 
relation. 

Prefer last two weeks, last two months, to past two 
weeks, etc. 

Prefer lenity to leniency. 

Prefer loose to unloose. 

Prefer leading article or leader to editorial. 

Prefer lengthwise, sidewise, to lengthways, etc. 

Prefer the morrow to tomorrow (as a noun). "The 
morrow will suit me." . 

Prefer the months by name to ult., prox., inst. 

Prefer oneself to one's self. 

Prefer oversee to supervise. 

Prefer offensive to obnoxious. 

Prefer ordinal numbers to cardinal numbers at the 
heading of letters. Write March 24th, or the 24th, 
rather than 24. 

Prefer rich to wealthy. 

Prefer railway to railroad. 

Prefer seeming to apparent. 

Prefer say to remark or observe (to remark and 
observe mean to notice). 

Prefer station to depot. 

Prefer truthfulness to veracity. (Veracity should 
be applied to persons only.) 

Prefer thus to so. (He does it thus.) 

Prefer various or diverse to different. (Different 
should be confined to the meaning of differing from.) 

Prefer vacant to empty, of buildings uninhabited. 

Prefer would rather or should rather to had rather. 

Prefer with reference to, to in reference to. 

In general prefer short words and phrases to long 
words and phrases, simple sentences to involved sent- 
ences, and plain language to fine writing. 

For variety in expression I would advise a careful 
study of the dictionary, with special reference to the 
different shades of meaning in words. Also the study 
of some good book of synonyms. A very good and 
inexpensive work of this nature is Conklin's "Synonyms 
and Antonyms," published by David McKay of Phil- 
adelphia. 



How to Write a Short Story 



LESSON NUMBER TWENTY-FOUR 



THE SHORT STORY 

The short story is the most popular form of fiction 
today. Nor is it of modern origin. The legends of 
ancient people, the stories of the Old Testament, and 
the tales of the wandering wise men of the East, all 
bear record of the antiquity of this form of fiction. 

But the short story in its modern form has become 
especially popular during the last quarter of a century. 
Edgar Allen Poe and Nathaniel Hawthorne were the 
first authors in recent times to place emphasis upon 
short stories. Both of these authors were master work- 
men in the art of short story construction. But the 
special popularity of the short story has come to the 
front in our own time. The multiplication of modern 
magazines, and the special Sunday editions of the great 
daily newspapers, account largely for the wave of 
popular interest in this form of literature. 

Then, too, short stories are in keeping with the de- 
mands of our rushing age. People must have some- 
thing to read, but they haven't time to wade through a 
lengthy . novel. The long-sustained story is also too 
great a strain upon their over-worked minds. There- 
fore, the short and complete story meets their hearty 
approval. Nor has the wave of the short story's popu- 
larity reached its height, for there is a growing and 
rapidly increasing demand for short stories, which 
authors and publishers have not yet been able to meet. 

Here is a field for every aspiring wielder of the pen. 
Those who would not dare attempt anything so am- 
bitious as a lengthy novel may try their growing wings 
in this shorter flight. 

It is also a more profitable field for the average 
writer. An author is often paid as much for a short 
story as he earns from the copyrights of a novel, and 
it costs him less than one-tenth the labor. 



AUTHORSHIP 55 

LESSON NUMBER TWENTY-FIVE 



HOW TO CONSTRUCT A SHORT STORY 

The principles which underlie the construction of a 
short story are practically those which give shape to 
the more ambitious novel : for the short story is really 
a novelette. Every work of fiction, long or short, 
depends for its charm and power upon one of three 
elements, namely : the characters, the plot, the setting. 

There must be certain persons, doing certain things, 
under certain conditions. The author simply tells us 
about these people, and what they do under these 
conditions. 

The wise author creates vivid characters and starts 
them into action. The masters of fiction knew how 
to beget real men and women, and to make them 
march toward events, with the earth beneath their 
feet and the sky above their heads. The record of 
that march is the story which holds our interest, when 
it is well told, whether it be long or short. 

THE CHARACTERS OF A STORY 

Let us consider the first potential element in the con- 
struction of a story — the characters. The charm of 
some stories is entirely in the picturesqueness and 
uniqueness of their characters. Such might be termed 
character stories. But the characters must be strong 
or original indeed if they are to be the chief charm of 
the story. Especially is this true of the short story. 
Here we haven't time to become acquainted with ap- 
parently commonplace and uninteresting characters. 
To be sure, they may be made interesting in a more 
lengthy narrative. But who would wade through "The 
Newcomes," or "The Antiquary," until he became 
acquainted with the characters, if he did not have 
faith in Thackeray and Scott, and believe that they 
knew their business? 

In the words of George Eliot, "These commonplace 
people have conscience, and have felt the sublime 
prompting to do the painful right." But such charac- 



56 JOURNALISM 

ters seldom have a place in the short story. It takes 
us too long to appreciate them. 

The writer of the short story, therefore, should 
usually choose picturesque, and not colorless char- 
acters. 

If he is writing a love story it must not take too 
long for the hero and the heroine to become acquainted. 
They must soon begin their decisive battle. 

But the author of the short story need not depend 
upon character-drawing for effect. If his plot be suffi- 
ciently entertaining, comical, novel, thrilling, the char- 
acters may be commonplace, and yet the story remain 
a work of art. 

The same may also be true if we turn to the third 
element of effect in fiction ; namely, the circumstances 
or events enveloping the characters and action of the 
tale. Such is the nature of the short story that both 
characters and action may be almost without signific- 
ance, providing the atmosphere — the place and time 
and background — is artistically portrayed. 

But to realize this the author must step out of the 
beaten paths for the setting of his story. Let him dis- 
cover a new corner of the world, and all the world 
will run to his corner to see what it contains. The 
simple "Adirondack Stories" of Mr. Demming and Mr. 
Murray have local settings which make them charm- 
ing. The same is true of the tales of Miss Wilkins. 
People read her stories not so much because they care 
for her characters, as to get a good breath of "New 
England air." 

A HAPPY BLENDING OE THESE ELEMENTS 

Many writers of the highest rank avail themselves 
of all three of these modes of impression. In Bret 
Harte's "Tuck of Roaring Camp," Aldrich's "Marjorie 
Daw" and Kipling's "The Man Who Would Be King," 
all three of these elements are happily blended, making 
a work of art whose charm defies analysis. 

THE STRUCTURE OP THE STORY 

Every story, like an architectural structure, must be 



AUTHORSHIP 57 

builded according to a plan. The architect who works 
without plans will soon have to plan for some other 
kind of work. 

So the literary artist must plan his work and work 
his plan if he would succeed in his vocation. 

The first thing for him to do is to select his subject. 
This may come as an inspiration, or it may be carefully 
selected from a number of themes. In all probability 
each subject will come in a different way. 

He must next take into consideration the matter of 
economy. How few characters, not how many, must 
be his first consideration. And then, how to compact 
his material, will also demand attention. 

He will next select the point of view, from which 
to tell his tale — whether he will depend for interest 
upon the characters in the story, the action of its 
movement, or its setting. 

Or again, whether he shall not try to strike the happy 
medium between the greatest economy of means and 
the utmost emphasis. In any event to conserve the 
emphasis, he must, in planning the narrative step by 
step, be guided by the principle of emphasis in all its 
parts. 

Above all things the author should be perfectly 
natural. He should build according to a pattern, but 
it must be his pattern, and it should not cost him 
great effort to tell the story, for it should tell itself. 



LESSON NUMBER TWENTY-SIX 



PREPARING AND WRITING THE SHORT STORY 

Before beginning the story the author should outline 
his theme very carefully and should see the end from 
the beginning. In order to do so, of course, it is neces- 
sary that each step be carefully prepared and that the 
frame of the structure be clearly constructed. To 
assist the writer in this important preparatory work, 
I would suggest the following general plan : 



58 JOURNALISM 

INTRODUCTION 

The opening sentence should be clear, crisp, and full 
of appeal. It should grip the attention of the reader 
and if possible suggest what is to follow. Above every- 
thing the interest of the reader must be aroused. This 
may be done by 

1. A statement of a strange happening. 

2. A general experience appeal, something to be said 
or suggested that may remind the reader of something 
in his own life and experience. 

3. Some statement of a character which shall hint 
at something interesting to follow. 

4. An act or saying of a character perhaps not fully 
understood by the reader but which will be revealed by 
further perusal of the story. 

5. A strong suggestion of what may take place under 
certain circumstances, something that shall cause the 
reader to think he knows how the story will end and yet 
leave him in doubt with a keen desire to learn the out- 
come. 

development 

The characters of the story will determine its atmos- 
phere. 

New triats of character should be revealed as the 
story progresses and expressions peculiar to locations 
should lend color to the story. Put contrasting char- 
acters and passions into the development. 

Reveal the thoughts and minds of the characters by 
their outward actions. 

Make the motive for action in the case of the leading 
characters exceedingly strong, but keep the reader 
guessing as to the outcome. 

Use indefinite information to arouse the reader's 
curiosity, but do not hold him too long in the air. 

Suggest what the ending may be, but do not lead 
the reader to suppose that you yourself know the out- 
come. Give him to understand that most anything may 
happen. 



AUTHORSHIP 59 

Give the proper proportion to each incident. Do not 
pad your story too freely with descriptive passages. 

Let the speech of each character and each sentence 
lead onward toward a definite end. However, you 
need not take a straight course toward the goal. The 
way may be a circuitous one and yet the traveler must 
be assured of reaching the goal at last. 

Do not run too rapidly toward the climax. Occa- 
sionally tarry a little and hint that something unfore- 
seen may happen. 

Occasionally bring in an alternate prospect near the 
climax, leaving the reader to wonder in which path 
the story will run. 

climax 

Approach the climax with great skill, though some- 
times slowly, but hit the bull's eye with all your might 
when at last you let the arrow fly. When you ring the 
bell do not fire again. Your story is told. Your work 
is done. 

Just the themes to choose and how to begin the 
story, how to clothe and develop it from point to point 
until it becomes "a thing of beauty and a joy forever/' 
each student must decide for himself. However, all 
these things and everything pertaining to the writing 
and selling of the story are thoroughly taught in our 
extensive course on short-story writing. This is a 
correspondence course in which the student has his 
stories and lessons corrected and criticised. It is pos- 
sible to teach the subject thoroughly only in such a 
course, for in this course each student receives the per- 
sonal attention of experienced instructors. 



60 JOURNALISM 

LESSON NUMBER TWENTY-SEVEN X 



HINTS TO SHORT STORY WRITERS 

Infuse a live element into every story. If in a story 
of 3,000 words you have one "situation that will tingle 
the nerves and cause the heart to throb, a situation 
that will cause the reader to take a more lively interest 
in the joys and sorrows of the creatures of your imag- 
ination, you have the elements of a good story. 

In telling a story get at its heart at once. Strike the 
keynote at the beginning. Have action at the outset 
and continue it to the end. The short story has but 
little room for descriptive work, and still less for 
preaching or moralizing. Let your characters explain 
themselves and tell their own story. 

Do not make a short-story too long. It is rare that 
any publication cares for a story of more than 6,000 
words. This will make about eight pages of the aver- 
age magazine, without illustrations, and considerably 
more with them. 

Household and domestic journal stories may run 
from 1,500 to 5,000 words. Literary weeklies may use 
from 2,000 to 3,000 words. Syndicate newspapers 
use stories containing from 3,500 words down to 1,500 
or 1,000 words. 

Don't overwork the tragic element in your stories. 
The average young writer seems to have a predilection 
toward the sad and tragic aspects of life. It is said 
that tragic stories amount to fully ninety per cent of 
all the fiction offered for sale. It is not strange, there- 
fore, that editors are glad to get stories that show 
the lighter and brighter phases of human life. 

Nor is it wise to tell the editor that yours is a "true 
story." He is not looking for fact, but for fiction. 
Narrative stories of fact belong in the news columns, 
not in the fiction department. 

Young writers sometimes make the mistake of telling 
the editor that the story was written in a very short 
time, to enable him to know what a genius is budding. 



AUTHORSHIP 61 

He usually doesn't need to be told how little real effort 
went into such a story after he has glanced at it. 
Good stories are seldom written before breakfast or 
even after dinner, if that meal be taken in the evening. 

It is not worth one's while to spend much time, at 
present, on "dialect stories." A few years ago they 
were quite the vogue, but today a dialect story can 
hardly be sold. 

Facility of expression and fidelity to life are the de- 
sirable requisites now in salable fiction. 

The editors of our chief periodicals are quite explicit 
in defining the kind of contributions desired. Thus 
the editor of Munsey's Magazine says : "We want 
stories. That is what we mean — stories, not dialect 
sketches, not washed-out-studies of effete human na- 
true ,not weak tales of sickly sentimentality, not 
'pretty' writing. This sort of thing in all its varieties 
comes by the carload every mail. It is not what we 
want, but we do want fiction in which there is a story, 
action, force — a tale that means something : in short, a 
story." 

While the Harpers outline their opinion of a desir- 
able story thus : 

1. A well developed plot. 

2. Good characterization. 

3. Good, vigorous English. 

4. A moral tone. 

5. The happy or artistic ending. 

6. A well selected title, perhaps one which would 
arouse curiosity. 

Upon the technique of the short story we can not put 
too much emphasis. It is asserted that a professor of 
rhetoric and English in one of our leading universities 
said lately, that the story of the future would be 
made up almost entirely of conversation. "Write 
your story as long as you please," said the professor, 
"then substitute conversation for description wherever 
you can." 



62 JOURNALISM 

Another writer upon this point has appositely said: 
"It is not necessary to say that a woman is a snarling, 
grumpy person. Bring the old lady in and let her 
snarl." 

POINTS TO REMEMBER 

Send your stories to the appropriate periodicals. 
Study the appended list and decide where to send 
your productions. 

Number the pages in your manuscript, and write 
your name and address on the upper left hand corner. 

On the upper right hand corner write the approxi- 
mate number of words in the story. The ideal length 
is from three to four thousand words. 

Do not fasten the pages together, nor roll the manu- 
script. Send it folded or fiat and enclose sufficient 
postage for its return, should it not be accepted. 

Should the manuscript be returned soiled, re-write 
it and try another publisher. 

Always give careful heed to spelling, punctuation, 
and the neatness of your manuscripts. 

Choose your titles carefully and word them euphoni- 
ously, that they may be pleasing to the eye and ear. 

Be graphic in your description, but not wordy ; be in- 
teresting, but not diffusive; be progressive, but not 
hasty; be thorough, but not lengthy, and stop when 
your tale is told. 



How to Write a Novel 



LESSON NUMBER TWENTY-EIGHT 



HOW TO BEGIN 

The first question which confronts the writer who 
aspires to long fiction is usually, "What shall I write 
about." Now this is not a hopeful omen, for we have 
been warned not to write until we have something to 
write about. But few of the world's greatest books 
have been written by authors who penned them because 
they wanted to write. Most fiction that is worth while 
was written not because the author wanted to write a 
book, but because the tyro felt that he must write that 
particular book. He wrote because the subject was 
in his system and a vesuvian erruption would have 
followed had he not opened the safety valve through 
the pen or typewriter. 

Such a boiling, seething,, furnace of hidden force, we 
will assume our writer to be. The fire is in his bones 
and will eat him up like quick lime, unless he uses 
his fountain pen for an extinguisher. Very well, he 
has chosen his subject, or rather his subject has chosen 
him as a channel of expression. And now another 
interrogation mark flashes before him like a beacon 
amidst the lifting fog. "What shall I write?" are the 
words that blaze into his consciousness — "a character 
novel or a dramatic story?" 

One glance at the book shelves, or one visit to the 
movies will probably settle the question, for ninety- 
nine people out of a hundred are "eating up" plot 
stories and "passing up" character stories. All the 
great novelists have considered their characters as 
actors in the unfoldment of a masterly plot. These 
characters have been all the more human and attrac- 
tive because they danced to the rythmatic music of the 
dramatic plan of the story. To be sure some great 



64 JOURNALISM 

geniuses have written masterly character stories. But 
it usually takes the literary charm and power of a 
genius to place the crown of immortelle upon the brow 
of the hero or heroine in a character story. 



LESSON NUMBER TWENTY-NINE 



PLOT OF TH^ NOVEL 

The plot of the story never springs fully formed 
upon the stage of the author's consciousness. Like 
great rivers the plot usually has its genesis in some 
hidden spring that gushes from the heart of the 
unseen. It may start from an impression made upon 
the mind years before, or a simple incident may set a 
train of thought in motion that unfolds picture after 
picture in the story like the grinding out of the various 
scenes in the photoplay. 

It is your duty as a writer to court and foster these 
impressions, to train and nurture them as a Burbank 
nurses and developes his fruit and flowers. Always 
keep a note book handy in which to jot down every 
plot germ that may cross your path or visit your con- 
sciousness. After a while you will have gathered a 
collection of ideas and suggestions more valuable to 
you as a writer than all the gems in the royal caskets 
of Europe. This will especially be true if you use your 
eyes as well as your mind. Not only see the people 
whom you meet but see through them and everything 
about them. Observe carefully and never allow any- 
thing to escape your notice. 

Then whenever you are ready to begin a story the 
appropriate subject and idea will come knocking at 
your door saying "Here am I, use me and I will place 
at your disposal the army of ideas which I have gath- 
ered and arranged for this special purpose." 

Moreover, the writer should, like the wise architect 
or artist be able to see the end from the beginning. 
In fact some success novelists write the end of their 



AUTHORSHIP 65 

story before forming the beginning. However it is 
almost always wise to plan your story step by step 
before you dress it in the adornment of a completed 
production. The literary artist should be as wise as 
the juggler in pigments who visualizes every detail of 
his masterpiece before he touches brush to canvass. 



LESSON NUMBER THIRTY 



SC£N£ OF TH£ NOV£lv 

The scene of the story must also receive careful 
attention. Don't travel too far afield for this important 
element of your production. Both in time and place 
it is wise to confine the scene to your own day and 
surroundings until your imagination has become suffi- 
ciently skilled in piloting your world-wandering aero- 
plane into distant lands and times. Above all things 
don't make your story a biography. Whether you tell 
your tale in the first, second, or third person keep 
yourself in the back ground. Be always content to 
pull the strings that make the puppets dance. 

The nature of the story may be grave or gay, ro- 
mantic or commercial, tragic or comic, but if you wish 
to win the greatest prize in the race you should hitch 
Dan Cupid to your chariot. Remember that by far 
the majority of novel readers are women and most 
women prefer the love stories. 

However, the chief concern of the writer should be 
to give the story strong sustained interest. This may 
be accomplished by a series of twists and turns that 
lead the reader to wonder what is around the next 
corner. You should make him anxious to reach the 
next hill crest beyond which unknown wonders are 
supposed to stretch in raptuous expansion. 

The title of the story is also of great importance. 
Whether you select the name before your child is born 
or after it has passed through the throes of its mental 
birth, it should be christened with the most appropriate 



66 JOURNALISM 

and appealing name. The title of the story should 
also be carefully selected because it must appeal first 
to the editor and then to his readers. But you may 
be assured that the editor will read the title through 
the eyes of his patrons. He will also bear in mind 
that a good title may not only sell the story which it 
captions but every other story in the magazines. This 
title should be brief, euphonious and suggestive of the 
nature of your story. 



LESSON THIRTY-ONE 



THE CHARACTERS 

The characters of the novel should receive appro- 
priate and attractive names. They need not be high 
sounding or even uncommon names but they must 
appeal to the readers as appropriate to the personali- 
ties which they represent. The nature of the story will 
determine to some extent the names that should be 
chosen for your characters. 

The atmosphere and the setting of the story will also 
depend largely upon the kind of story you are writing. 
A character story is usually influenced more by the 
setting than a dramatic story for characters are fre- 
quently the product of their surroundings. "David 
Haram" could never have lived in Europe or in Arizona 
and "The Eyes of the World" could never have been 
staged in New York or Boston. 

Moreover the writer of fiction should also ~be a 
great reader of fiction, in order that he may not 
choose subjects or material already overworked. He 
should have a practical acquaintance with the world's 
fiction. He may acquire this information by visiting 
any well stocked public library and scanning briefly 
the books of ancient and modern writers. His con- 
cern however should be more about writers of his 
own day. The files of such magazines as the "Book- 
man" will prove a fruitful field for research and he 



AUTHORSHIP 67 

should regularly read book reviews in current maga- 
zines and keep up at least a speaking acquaintance 
with every book of fiction that is published. 

Consistent work as a fiction writer will bring ample 
reward. Perhaps no other profession or art has so 
much to offer to those who will become masters of 
fiction and fiction writing. In addition to the financial 
remuneration, which always comes to the successful 
writer of fiction, he will receive inspiration from the 
fact that he is adding just so many more human beings 
to the thought world. It may be somewhat sobering 
for him to remember that he must be responsible for 
the acts of all his brain children. But the chief 
inspiration will come with the thought that he too is 
creating the being called the noblest work of God. He 
therefore becomes to a certain extent a co-worker with 
the Eternal, a creator whose work will be eternal in 
proportion to his fidelity to the dramatic laws of his 
art in reproducing the crowning work of the great 
Creator. 



How to Write a Moving 
Pidlure Play 

LESSON NUMBER THIRTY-TWO 



HOW TO WRITE A MOVING PICTURE PLAY 

The motion picture play industry has grown in leaps 
and bounds during the last ten years. Nearly ten mil- 
lions of people now witness the photoplays daily in the 
United States and the demand for picture play material 
is constantly increasing. While the kinds of plays 
produced by the various film companies vary largely 
from time to time, the form in which the scenario is 
written has become quite definitely established. Photo- 
play writing is now an art. In order to produce good 
material the writer must therefore conform to certain 
usages and rules recognized by most producers. 

Mr. Daniel Frohman, the theatrical manager and 
picture play producer, says : "Unity of purpose is a 
big and vital element in a motion picture play, without 
which no one can hape to succeed. An imagination is 
the underlying element which must be evident in all 
dramatic work of this nature." Another faculty men- 
tioned by Mr. Frohman, as essential in writing photo- 
plays is the ability to convert everything into action. 
"Action alone, however," he says, "is not sufficient to 
make a play successful. The writer must keep con- 
stantly in mind the ethical purpose and dramatic char- 
acter of the story. His scenes must not be extraneous 
to this principle. There must be no padding, no filling 
out with scenes that have no connection with the story. 
A properly prepared photodrama does not mean that 
the work of its creation is complete. Whenever a play 
in its main details has been worked out it is necessary 
usually to further insert the suspense and heart interest 
elements. It is not sufficient to represent a dashing 



A UTHORSHIP 69 

sequence of episodes, the action must be impelled and 
directed by some big and noble motive. The drama 
may be one of love but the incidents as pictured on the 
screen may illustrate that love is not the only thing: 
that self-sacrificing of love for a worthy purpose, 
despite the unhappiness which may follow, is an ideal 
and noble form of conduct. 

Mr. Frohman sums up his instruction by naming the 
following steps as essential in writing a picture play. 
1. State concisely what theme, subject, or topic you 
have selected. 2. Develop the idea you have selected in 
a series of scenes which have increasing interest and 
excitement. Let them lead up to the climax and close 
when the emotion of the audience is at its height. 
3. When the climax is reached a solution of all difficul- 
ties, which have been overcome, should be clearly indi- 
cated. 4. Write an outline of the general developments 
of your plot. 5. Give a list of the scenes required for 
the unfoldment of your story, the shorter the better. 
6. With each scene indicate what characters are to 
appear in that scene. 7. After your play is written 
analyze it, and satisfy yourself as to the dramatic value 
of the scenes. For all motion picture dramatists must 
bear in mind that while the screen depends upon the 
pictorial effects, the pictures must in themselves have 
dramatic value — they must be moving in the active 
sense of the word." 

In photoplay writing, as in every other form of story 
writing the story is the thing. More photoplays fail 
because of weak plots than for any other reason. "The 
biggest defects of the plays submitted by outsiders," 
says Lawrence McOloskey, a photoplay editor who 
handles thousands of uanuscripts, "is that they do not 
contain real plots." As in every life wofth while so in 
every plot worth writing, a progressive struggle must 
be evident. The struggle may be between two men for 
the favor of one girl, between a man or woman with 
environment, or between the higher part of one's nature 
with that less worthy. Nor should this struggle be 



70 JOURNALISM 

made too easy or the outcome too evident. Keep your 
audience guessing, but keep them also watching to see 
if they have guessed right. 

In selecting a theme one should remember that cer- 
tain subjects may be unacceptable to the censors. Be 
careful in handling stories containing the crime element 
and remember that when this is done some form of 
punishment must be meted out to criminals. The best 
subjects are those which impress you most deeply. 
They may be suggested by reading, by witnessing a 
play, by observing an incident in daily life or they may 
be a part of your own experience. Remember, as Col. 
J. E. Brady, director at Universal City, has said, "The 
province of the motion picture is to portray real life 
on the screen and the more nearly we visualize actual 
happenings the better our chances of success." Col. 
Brady also gives us helpful suggestions concerning the 
kinds of plays desired by his company and others. 
Says he, "the day of exaggerations of depicting unholy 
passions, of crime, has gone by. Crime may be an inci- 
dent, when its solution or punishment points to a higher 
moral, but it must never be the entire story. We know 
there are rotten things in the world, but I believe that 
the public now desires to see the sweet and good things 
of life depicted rather than the sordid and impure. 
Heart interest with human touches, tears, laughter and 
joy are the great things in the pictures today — and the 
future." 

The increasing demand for heart and human interest 
and strong plot stories for motion picture plays is still 
further emphasized by William Fox, President of the 
Fox Film Comopany. He says : s 

"Public taste may change, new schools of fiction may 
come and go, but there is one thing eternally fixed and 
changeless — the human heart. 

"The story, therefore, should be human in its appeal 
and should possess ingenuity of plot. It must be 
lighted, glorified and inspired by love. 



AUTHORSHIP 71 

CAUSES OF REJECTIONS 

"Ninety-nine per cent of the scripts submitted by 
embryonic writers are rejected because the story is 
time-worn or because the author has no understanding 
of what can or what cannot be done on the screen. 

Expertness in the mere mechanics of scenario con- 
struction is not sufficient. There must be the subtle 
touch that brings the play into intimate personal rela- 
tion to the beholder. 

"I believe that the author is deserving of every con- 
sideration. He is the one that conceived the thought 
which finally is to strike the emotions of millions of 
people the world over. Without the big thought, the 
master hand of a director and the interpretative ability 
of the star would fail of any real success. 

"The simplest of stories, through the use of suspense, 
may be made just as gripping and moving as the most 
strenuous melodrama. The Fox census has shown this. 

"The writers of scenarios, therefore, cannot go amiss 
if they play on the keyboard of human passion, sur- 
rounding the impressively dominant theme, the subtlely 
appealing undertones, compelling overtones, and most 
of all, the happy, joyous, sunny notation of love." 

The writer of photoplays should read the moving pic- 
ture journals indicated in our Markets for Manuscripts. 
But above all things he should study the plays as seen 
upon the screen. I say study, because it is not sufficient 
for him to visit the theatres for entertainment. He 
should note first the subjects as announced on the 
boards outside and he should watch the phrasing not 
only of the subjects but of all of the sub-titles on the 
screen. It is better for the student to witness one good 
play five times than five plays in a casual manner. This 
will enable hin to master the technique and construc- 
tion of the play. 

Just now many producers desire only a synopsis of 
the plot, and not the fully developed play, scene by 
scene. However, we would advise a writer who desires 
to devote much time to the production of motion pic- 



72 JOURNALISM 

ture scenarios, to address the producers to whom he 
desires to submit material, asking them for information 
concerning the form in which they desire the material. 
The synopsis should cover every phase of the plot, 
but need not be more than from three to five hundred 
words in length for a one-reel scenario. It should 
always be written in the present tense. The following 
synopsis is from the text book used in our Extensive 
Course of instruction in Photoplay Writing, written by 
Glarence J. Caine, Editor, Scenario Writer's Depart- 
ment of a prominent picture play magazine. It forms 
a part of a model scenario prepared by Gibson Willets, 
who has achieved great success as a scenario writer. 
This scenario was produced by a leading company. 

"IF I WERE YOUNG AGAIN" 

DRAMA OF SYMBOLISM IN ONE REEL 

Synopsis 
Upon hearing of an opportunity to invest his money 
in an oil scheme, the old curator of the museum longs to 
be young again, that he might have the ambition and 
daring that go with youth. A mummy arrives at the 
museum of which he has charge, and in its wrappings 
he finds the elixir of life, one drop of which, if taken 
with the coming of each new moon, will restore his 
youth. He takes a drop, and becomes a young man in 
body, but remains old in mind. His disappearance — as 
the old curator — is mourned by his friends, especially 
his old landlady, for whom he cared much. He invests 
in the oil scheme, and loses all he has. He then tries 
to find work, but because of his queer combination of 
old mind and young body does not fit any place. His 
social life, also is dreary, and he longs to be old again. 
His landlady inherits a fortune, and longs to be young 
again, that she may enjoy it. The curator returns to 
his room, and tells the landlady all about this experi- 
ence. She begs him for a drop of the elixir, but he 
destroys it, telling her that the only true happiness is in 
going forward, and that the desire to be young again 
can only result in unhappiness. He returns to the 



AUTHORSHIP 73 

museum, where he is welcomed by his associates (hav- 
ing been transformed back to old age). With his land- 
lady, he finds happiness in the things that spell com- 
fort to the aged. 

Should you desire to master the art of scenario writ- 
ing scene by scene to conform to all the requirements 
of the producer who desires the complete photoplay, we 
will send you full information concerning our thorough 
and practical course on "HOW TO WRITE PHOTO- 
PLAYS." Address Photoplay Department, United 
Press Syndicate. 



Play Writing 



LESSON NUMBER THIRTY-THREE 



HOW TO WRITE) A PLAY 

By Fanny Cannon, in "The Editor." 

The very first maxim in regard to play-writing is : 
Don't do it until you know how. You would not dream 
of sitting down to a game of bridge without at least 
a working knowledge of the rules. This is doubly 
true of dramatic composition. Eearn the rules before 
you play the game. Then play awhile for practice 
before you sit down to a game with experts. The 
people who can write plays will write them in spite 
of all discouragements. The people who can not 
should be dissuaded in every way permissible to a law- 
abiding population. 

In theme, the play is more closely allied to the short 
story than to the novel. The former deals with one 
episode and its incidents, whi-le the latter may be 
entirely lacking in story. Witness the autobiographical 
novels of Thackeray, Dickens, the Brontes, interesting, 
but relating many incidents and episodes and covering 
a life-time in characterization. 

The play, like the short story, must contain one cen- 
tral episode or idea, and the working out of that one 
idea by the aid of whatever lesser attendant matters 
the main theme demands. 

Having a story to tell, you must decide whether it 
is adapted to the play-form. Many stories are inter- 
esting; all are not necessarily dramatic. Some are 
dramatic, but too simple to work out through a play. 

If you decide that your story is suitable for the 
play-form, write it out as a story. This is not a 
scenario, merely a test of its dramatic qualities. Arnold 
Bennet says that a story which is not capable of ren- 
dering viva voce is not worth writing. By the same 



AUTHORSHIP 75 

token, a story which can not be written is not worth 
dramatization. 

But a good story to tell is only one of many requi- 
sites for a good play. It had better stay merely a 
story than run the risk of marring it by a form 
unfamiliar to the writer. Ask yourself, honestly, just 
how fit are you to write a play? You may sometimes 
write an interesting story which will be readable, and 
yet be hardly more than a sketch of the episode — a 
dramatic outline like a newspaper reporter's accounts, 
some of which make excellent reading. In a play, 
you must work with people, not outlines. Their emo- 
tions must be human, great or small according to the 
characters. 

Just how much do you know of the lives you intend 
to portray, or of life in general? That may seem an 
almost laughable question. And yet it is truly amaz- 
ing how many novices w T ill rush into tremendous sub- 
jects with which their life experience has rendered 
them utterly unable to cope. Even Emily Bronte 
failed when she attempted certain facts of life of which 
she was necessarily ignorant — and she was a genius. 
A play came to my notice a little while ago which dealt 
with a big and vital social problem. The chances 
for good drama and characterization were all there. 
But the play was attempted by a girl barely out of 
her teens. She might know the facts, but what could 
her youth and inexperience guess of the mental pro- 
cesses which brought them all about? 

Therefore, for your first play at least — and all others 
unless you are willing to collaborate — let alone what 
in the nature of things is outside your ken. 

Do not lay your scenes in a walk of life with which 
you are totally unfamiliar. If your knowledge of 
society is bounded by the small village-church social, 
or a factory-ball, don't write a play dealing with the 
exclusive circles of London or New York society. 

Being now sure that you have a dramatic story, and 
that you fully understand the subject and its emotions, 



76 . JOURNALISM 

the next question of your fitness is : How much do you 
know of the theatre and its plays, the actors and their 
work? You say that from the audience you have wit- 
nessed plays for many years. As a spectator only? Or 
have you dissected and analyzed as you watched? It 
is almost impossible to do the latter unless you are 
guided by some one who knows. You will not know 
just what to dissect. Unless you are initiated certain 
important matters will utterly escape you. You might 
study by constant reading of printed plays. But the 
theatre, like everything else, changes frequently. The 
kind of play which succeeded a year ago may fail this 
year. So you must know something of the actual 
playhouse and its exigencies. You may write a play 
without, but it will have to have all kinds of things 
done to it at rehearsals — should it get so far — to pay 
for your ignorance of the stage and its mechanism. 

The person who knows about plays and the stage, 
goes to the work of writing a drama with his hat off, 
metaphorically. I remember a friend, who after years 
of experience as actress and writer was at work on 
her first play. Almost reverently she spoke of it to a 
non-professional friend, who was mildly interested, 
and who then remarked, "John Smith's brother writes 
plays, very clever ones, too, and he's only seventeen." 

Amazed, my friend said, "Does he know anything 
of the stage?" 

"No, never stood behind the footlights in his life; 
knows nothing of it." 

This was said as if the matter was of no consequence 
and play construction as simple as letter-writing. But 
my friend said nothing more of her play except to 
people who understood. It was the old story of "fools 
rushing in" — you know the rest. 

You may enter the world equipped with imagina- 
tion, and other gifts fitting you for literary composi- 
tion; but you do not enter this vale of tears a play- 
wright. W. T. Price says on this subject, "The idea 
that one can be born a playwright is a monstrous lie 



AUTHORSHIP 77 

and fraught with evil." It is just as impossible to be 
born an electrician or a geometrician, however much 
one's tastes may run in these directions. A taste for 
a thing, even a certain gift for it, is not necessarily 
the ability to do it without the addition of technical 
knowledge. 

However, having decided that you know enough of 
these matters to write a play, you can make prepara- 
tion for your scenario. This latter is a sort of chart 
for your guidance when you sit down to the last work 
of all, the actual writing of the dialogue. 

But before your story becomes your scenario — unless 
you are working solely for practice — look well to one 
or two things. 

First of all, be sure you yourself know fully all 
there is in your story. Sometimes, after you start 
you will find more, perhaps less, than you thought. 
Occasionally, one will have a story with enough ma- 
terial for three plays — and not know it. Good stuff is 
so often wasted in this way, because the author does 
not know it exists. 

Have a reason for things. I shall speak of this 
more fully when we come to prepare the actual 
scenario. But it is enough to say now that if you make 
a character so-and-so, it must be because it was neces- 
sary to have him just that kind of character. 

I remember reading a play that simply bulged with 
wasted opportunity. There was a knowledge of stage- 
craft and a certain sense of construction. But the 
story was weak. The hero was blind, for no reason 
that I could discover ; certainly no dramatic use was 
made of the fact. He might just as well have been 
lame, or perfectly sound, for that matter. There was 
a murder and the cause was interesting, but that idea 
went nowhere. It might, alone, have made a good 
detective story. Another episode was big enough for 
a play by itself, but was only partially developed. And 
so one idea after another went by the wall because the 
author did not know his own story. 



78 JOURNALISM 

Again, managers and the public are looking for 
novelty. Either your story or its handling must have 
something novel about it. A conventional play built 
on conventional lines, full of all the usual tricks to 
catch applause has simply no chance. Something in 
the play must be different. The Civil War drama is 
a dead issue, and to be salable today must have some 
unusual qualification to bring it to the manager's notice. 

Be sure that you carry home your theme through 
the play — and there must be but one. Another example : 
a play started out, giving the impression that it would 
deal with a certain phase of the labor question. It 
was badly done, but the idea was there. It was com- 
pletely lost sight of before the end of act two, and the 
reader was plunged into a maze of impossible "society" 
situations. 

Another thing: if of a certain kind of play, about 
three have succeeded, don't write the fourth. The 
edge has been taken off, and the public is tired. Watch 
your market. If you have a good idea along old lines, 
hold on to it. Wait until those lines have been sub- 
merged for awhile, then yours will bob up with a seem- 
ing of novelty. 

For preparation, read modern plays. Those of Pinero, 
Henry Arthur Jones, Clyde Fitch, Augustus Thomas, 
are published, and will serve better for models oi 
salable plays than even the works of the immortal 
bard. That sounds like heresy; it's good advice, 
nevertheless. 

This alone is not enough, as I said before, but taken 
in conjunction with the analysis of plays seen from 
the "front" will at least keep you from numberless 
unnecessary mistakes. 



How to Write Poems 



LESSON NUMBER THIRTY-FOUR 

THE TECHNIQUE: OE VERSE CONSTRUCTION 

Poetry is the art of expression in rythmic language, 
It is the music of nature revealeci in speech, song or 
writing. The natural world is full of music to those 
whose ears are tuned to catch its cadence. 

The swelling ocean, the beating of the surf upon the 
shore, the swaying trees, the singing birds, the murmur- 
ing brooks and crashing waterfalls, all express this 
restless motion and rythmic language through which 
Mother Nature is ever speaking to her children. 

Poetry therefore, is the first and natural method of 
expression. It is the primary language of the race and 
the first expression of emotion in youth. As mankind 
first expressed itself in poetry so the young writer 
usually employs verse to voice his thoughts and feel- 
ings. Poetry affords an excellent literary training, for 
poetic expression is concise, picturesque and impres- 
sive. Moreover the mastery of the technique of poetry 
is in itself an excellent training for the young author. 

The principles of verse construction are, however, 
simple, because natural. Verse and music are sister 
arts. They are akin in rhythm and meter. 

KINDS OE POETRY 

Poetry is usually classified as epic, dramatic and 
lyric. Epic and dramatic poetry are similar in that they 
each contain a story. In epic poetry the author por- 
trays the acts and words of others, while in dramatic 
poetry the characters speak and act for themselves. 

Epic poetry is uesd to express the exploits and deeds 
of heroes as in the Iliad, the Odyssey, and Paradise 
Lost. Metrical Romance is a less serious form of the 
epic. The Tale is a simple form of narrative poetry, 
telling a complete story. The Ballard is a direct, rapid, 
anad condensed story, with peculiarities of phrase and 
poetic action. Pastorals and Idylls have a great deal of 
description, usually of simple country scenes, coupled 



80 JOURNALISM 

with the narrative. Examples of these different varie- 
ties of the epic are : Metrical Romance — The Lady of 
the Lake. The Tale— Enoch Arden. The Ballard— 
The Ancient Mariner. Pastorals and Idylls — The 
Deserted Village and Idylls of the King. 

Dramatic poetry reveals its story through speaking 
and acting characters, thus developing a plot. The 
Tragedy, Comedy, Opera, Farce, Melodrama and the 
ancient mask are different forms of dramatic poetry. 

Lyric poetry expresses the deep emotions and senti- 
ments of the poet. It includes sacred and secular songs, 
the Ode, the Elegy and the Sonnet. Examples : 
Lowell's Commemoration Ode, Gray's Elegy and 
Shakespeare's Sonnets. 

METER 

Meter in verse consists of the regularly recurring 
accents and pauses. A foot in poetry consists of a 
number of accented and unaccented syllables. The 
kinds of meter are : Monometer — line of one foot. 
Dimeter — line of two feet. Trimeter — line of three 
feet. Tetrameter — line of four feet. Pentameter — line 
of five feet. Hexameter — line of six feet. Hptameter 
— line of seven feet. Octameter — line of eight feet. 

Accented syllables are indicated by a dash ( — ), 
unaccented syllables by a breve (^). 

POETIC FEET. One syllable in each foot is 
accented, that is it receives more stress than the others. 
The different kinds of poetic feet are : Trochee, a foot 
of two syllables with the first accented ( — ^) as 
onward. Iambus, a foot of two syllables with the 
accent on the second (^ — ) as, alone. Spondee, a foot 

of two syllables, both accented ( ) as, roll on. 

Pyrrhic, a foot of two syllables, neither accented (>--^) 
as, in the. Dactyl, a foot of three syllables with the 
accent on the first ( ww) as, delicate. Anapest, a foot 
of three syllables with the accent on the last (ww — ) 
as, intervene. Tribach, a foot of three syllables, no one 
accented. 



AUTHORSHIP 81 

The laws of rhythm are: 1. The units of sound 
(syllables) must be grouped together according to the 
time required for their utterance. 2. The time-groups 
are marked off by regularly recurring stress or accent. 
Reading verse to show its meter is called Scansion. You 
may determine the number of feet in a line of poetry 
by separating the units of syllables that naturally fall 
together, as in this Iambic Tetrameter — "Come 
live | with me | and be | my love." You can determine 
the kind of feet in a line of poetry by noting which 
syllables in each foot, or natural division are accented. 
In "scanning" poetry read each line to catch its rythm 
and natural divisions. Note the accents and time 
groups in the following : The cur | few tolls | the 
knell | of part | ing day. Read the entire stanza from 
Gray's Elegy and determine just where the accent, indi- 
cating the kinds of feet, and just where the vertical 
lines indicating the number of feet should be placed. 
Read and scan the familiar poems of Longfellow and 
Tennyson, marking each stanza as we have indicated. 

rhyme: 
Rhyme is a similarity of sounds, usually but not 
always at the end of the lines. Single rhyme is the sim- 
plest. Here we have the coindence of sound in one 
syllable : 

There she weaves by night and day 
A magic web with colors gay 

— Tennyson. 

In Double Rhyme two syllables rhyme, as in : 
The esplendor falls on castled walls 

And snowy summits old in story, 
The long slight shakes across the lakes 

And the wild cataract leaps in glory 

In Triple Rhyme words of three sllables rhyme, as 
in "The Bridge of Sighs" where we have double rhyme 
in the first and third lines and single rhyme in the sec- 
ond and third lines : 



82 JOURNALISM 

Take her up tenderly, 
Lift her with care, 
Fashioned so slenderly, 
Young, and so fair. 

Internal Rhyme, or middle rhyme, is produced by 
making the word in the middle of a line rhyme with 
a word at the end. "The splendor falls on castled 
walls." 

STANZAS AND RHYMING LINES 

The stanza in poetry ranges in length from the two 
line couplet of Tennyson's Locksley Hall to the nine 
line Spenserian stanza of Byron in Child Harold. Study 
these and your favorite poems for stanza formation. 

The common rhyme scheme is where the first and 
third, second and fourth lines of a four line stanza 
rhyme, as in Gray's Elegy. Study the poems of 
Tennyson for examples of rhyming lines. Note that 
the rhyming scheme adopted must be carefully followed 
throughout the poem. 

Blank Verse is the unrhymed Iambic Pentameter, 
much used in drama, as in Shakespeare's Julius Caesar. 

The student should study the best poems of the 
best poets. He need not study or read all of the poems 
of any author, but a good collection of poems may 
be studied to advantage. What is more important, the 
student should read the best poems of the day. While 
the principles of verse construction remain unchanged 
style and usage are constantly varying. There is vogue 
in verse as well as in painting or story writing. Keep 
abreast of the literary times. 



AUTHORSHIP 83 

LESSON NUMBER THIRTY-FIVE 



HOW TO WRITER POPULAR AND SACRED SONGS 

Many young writers have come to their own through 
their popular songs. While many have doubtless la- 
bored long without a song, others have sprung into 
fame and fortune like a jack-in-the-box. Yet there is 
always a reason for the success of the apparently 
"lucky." They frequently have been "toiling upwards 
in the night" while others slept or lamented their ill 
luck. Success in song writing, as in other kinds of 
composition, depends largely on "knowing how." 

First the theme must be selected. Then the type of 
the song must be determined. Having decided on the 
kind of a song he will produce the writer must not 
deviate from his plan, for the local color and atmos- 
phere of one type will not dovetail with another type. 
The following variety of types may be suggestive : 

Sacred, "The Holy City" ; ballards, high-class, "An- 
swer" ; Semi-high-class, "All That I Ask is Love" ; 
rustic, "Down By the Old Mill Stream" ; descriptive, 
"I Wonder Who's Kissing Her Now" ; Negro love 
ballard, "My Creole Sue" ; lullaby, "Go to Sleep My 
Little Piccaninny" ; shoofly songs, waltz, "Waltz Me 
Around Again Willie" ; Irish songs, "Where the River 
Shannon Flows" ; comic, "Has Anybody Here Seen 
Kelly" ; juvenile, "Always in the Way" ; philosophical, 
"Keep on the Sunny Side" ; national "My Own United 
States"; war, "My Dream of the U. S. A." Other 
types are the sea song, the home song, the mother 
song and a wide variety of high class love songs. The 
writer should become familiar with all the popular 
songs of yesterday and today and know just what 
kinds of songs are most in demand by publishers. 

Though your first draft may be crude your finished 
product should be neatly prepared according to the 
rules that pertain to manuscript making. You do not 
need to copyright a song unless you intend to publish 
it yourself. Publishers prefer to attend to the copy- 



84 JOURNALISM 

right and thus save a transfer of that right from the 
composer. 

As in all forms of composition which appeal to the 
public, the title of the song is very important. This 
need not, however, be selected until the song is well 
under way. Some writers select their titles last but 
it is better to choose your title early. Titles are of two 
classes — National and Local. The National title has a 
general, if not universal appeal or sentiment, while the 
local song is confined to a particular person, place or 
thing. "In the Good Old Summertime" is national. 
"My Coney Isle" is local. There are also other types 
that are neutral, neither national or local, like "Alex- 
ander's Ragtime Band" and "The Girl I Loved in 
Sunny Tennessee." While no rule can govern the 
selection of a title the national song usually has the 
widest appeal. You should also remember that the 
chief function of a title is to attract attention, to first 
attract the attention of a publisher who judges it as 
to its ability to draw the attention of the public. 

In choosing a theme one should avoid those that 
have been overworked. Originality is a virtue in every 
department of writing. A good theme is one that has 
a vital bearing upon everyday life; one that reaches 
the average person whether it makes him sigh or smile. 
Themes bearing upon subjects of popular interest and 
questions of the hour are desirable. War songs in 
times of war and songs of peace when peace has been 
declared. Summer themes for winter and winter 
themes for summer and love songs for all time are 
always timely. 

In construction your song be careful to have all 
your verses correspond in length, rhyme, rhythm and 
meter. Two verses and one chorus are generally 
considered sufficient today. Formerly, several verses 
were used. Short verses and long choruses seem to be 
the vogue today. The theme of your song should run 
through the verses and chorus like a golden thread. 
Every lyric should embody a distinct story. Songs 



A UTHORSHIP 85 

may be written in any person, but the language should 
be simple, clear and clean. Some writers compose 
their own tunes, but most writers employ an expert 
to compose the music, or leave that to the publisher. 
The song writer should become familiar with the 
principles of poetry as given in these lessons. He 
should be acquainted with lyric verse in general and 
keep in touch with the songs of the day. Writers of 
sacred songs should study standard hymn books and 
current religious songs. A list of song purchasers and 
publishers may be found in our "Markets for Manu- 
scripts." 



LESSON NUMBER THIRTY-SIX 



GETTING INTO PRINT 



By Jack London 

The following extract from an article by Jack Lon- 
don under the above title, in "Practical Authorship," 
will be of special interest to those who are thinking of 
tackling editors : 

"As soon as a fellow sells two or three things to 
the magazines, or successfully inveigles some publisher 
into bringing out a book, his friends all ask him how 
he managed to do it. So it is fair to conclude that 
the placing of books and of stories with magazines 
is a highly interesting performance. 

I know it was highly interesting to me ; vitally in- 
teresting, I may say. I used to run through endless 
magazines and newspapers, wondering all the time how 
the writers of all that stuff ni naged to place it. To 
show that the possession of this knowledge was vitally 
important to me, let me state that I had many liabilities 
and no assets, no income, several mouths to feed, and 
for landlady, a poor widow, whose imperative neces- 
sities demanded that I should pay my rent with some 
degree of regularity. This was my economic situation 



86 JOURNALISM 

when I buckled on the harness and went up against 
the magazines. 

"Further, and to the point, I knew positively noth- 
ing about it. I lived in California, far from the great 
publishing centers. I did not know what an editor 
looked like. I did not know a soul who had ever pub- 
lished anything ; nor yet again, a soul, with the excep- 
tion of my soul, who had ever tried to write anything, 
much less tried to publish it. 

"I had no one to give me tips, no one's experience to 
profit by. So I sat down and wrote in order to get an 
experience of my own. I wrote everything — short 
stories, articles, anecdotes, jokes, essays, sonnets, bal- 
lads, vilanelles, triolets, songs, light plays in iambic 
tetrameter, and heavy tragedies in blank verse. These 
various creations I stuck into envelopes, enclosed return 
postage and dropped into the mail. Oh, I was prolific. 
Day by day my manuscripts mounted up, till the prob- 
lem of finding stamps for them became as great as 
that of making life livable for my widow landlady. 

"All my manuscripts came back. They continued 
to come back. The process seemed like the working of 
a soulless machine. I dropped the manuscript into 
the mail box. After the lapse of a certain approxi- 
mate length of time the manuscript was brought back 
to me by the postman. Accompanying it was a stereo- 
typed rejection slip. 

"This went on for some months. I was still in the 
dark. I had not yet gained the smallest particle of 
experience. Concerning which was the more market- 
able, poetry or prose, jokes or sonnets, short stories or 
essays, I knew no more than when I began. I had 
vague ideas, however, dim and hazy ideas to the effect 
that a minimum rate of ten dollars a thousand words 
was paid; that if I only published two or three things 
the editors would clamor for my wares. 

"Concerning this minimum rate of ten dollars a 
thousand words, a thing in which I fondly believed, I 
must confess that I had gleaned it from some Sunday 



AUTHORSHIP 87 

supplement. Likewise I must confess the beautiful 
and touching modesty with which I aspired. Let 
other men, thought I, receive the maximum rate, what- 
ever marvelous sum it may be. As for myself, I shall 
always be content to receive the minimum rate. And 
once I get started, I shall do no more than three 
thousand words a day, five days only in the week. 
This will give me plenty of recreation, while I shall 
be earning six hundred dollars a month without over- 
stocking the market. 

"As I say, the machine worked on for several months, 
and then, one morning, the postman brought me a 
letter, mark you, a letter, not a long thick one, and 
from a magazine. My stamp problem and my landlady 
problem were pressing me cruelly, and this short thin 
letter from a magazine would of a certainty solve both 
problems in short order. 

"I could not open the letter right away. It seemed a 
sacred thing. It contained the written words of an 
editor. The magazine he represented I imagined ranked 
in the first class. I knew it had a four-thousand-word 
story of mine. What will it be? I asked. The mini- 
mum rate, I answered modestly as ever ; forty dollars, 
of course. Having thus guarded myself against any 
possible kind of disappointment, I opened the letter 
and read what I thought would be blazed in letters of 
fire on my memory for all time. Alas ! the years are 
few, yet I have forgotten. But the gist of the letter 
was coldly to the effect that my story was available, 
that they would print it in the next number, and that 
they would pay me for it the sum of five dollars. 

"Five dollars ! A dollar and a quarter a thousand ! 
That I did not die right there and then convinces me 
that I am possessed of a singular ruggedness of soul 
which will permit me to survive and ultimately to qual- 
ify for the oldest inhabitant. 

"Five dollars! When? The editor did not state. 
I didn't have even a stamp with which to convey my 
acceptance or rejection of his offer. Just then the 



88 JOURNALISM 

landlady's little girl knocked at my back door. Both 
problems were clamoring more than ever for solution. 
It was plain there was no such thing as a minimum 
rate. Nothing remained but to get out and shovel coal. 
I had done it before and earned more money at it. 
I resolved to do it again : and I certainly should have, 
had it not been for The Black Cat. 

"Yes, The Black Cat. The postman brought me an 
offer from it of forty dollars for a four-thousand-word 
story, which same was more lengthy than strengthy, 
if I would grant permission to cut it down half. This 
was equivalent to a twenty-dollar rate (per thousand). 
Grant permission ? I told them they could cut it down 
two halves if they'd only send the money along, which 
they did by return mail. As for the five dollars pre- 
viously mentioned, I finally received it after publication 
and a great deal of embarrassment and trouble. 

"I forgot my coal-shoveling resolution and continued 
to whang away at the typewriter — 'to drip adjectives 
from the ends of my fingers,' as some young woman 
has picturesquely phrased it." 

About this time, Mr. London says he stumbled upon 
a magazine which gave him some of the information 
embodied in our lessons, and also the inspiration which 
won for him his great success in authorship. 



LESSON NUMBER THIRTY-SEVEN 



WHY SOME) MANUSCRIPTS ARE: REJECTED THE REMEDY 

If some young writers have failed to get their stories 
published, there is a reason why. Editors do not re- 
ject manuscripts that can be used to advantage, but 
they can not tell each writer why his stories are not 
"available." The following article proves the need 
of such instruction as we give our students, and will 
help you to. avoid the mistakes of some unsuccessful 
writers. It appeared in the New York Sun and the 
writer states that the faults which lead to the author's 



AUTHORSHIP 89 

discomfort may be classified under these three heads : 

To begin with the most common fault of all, the 
manuscript may be all right, the situations well des- 
cribed, and the dialogue clever, but — no story. 

In the next group of failures are those manuscripts 
in which the story is there, but is not properly arranged 
or told. This is a fault which puts a manuscript just 
in the balance. Whether the editor thinks enough of it 
to bother further with it is largely a matter of the 
humor of the moment. It is very much like the hesita- 
tion of a person in buying something that is not quite 
what he wants, but which could be made to do by 
spending a little time and trouble on its alteration. 

The third class of failures is stories which are all 
right, but are not suited to the magazine to which they 
are sent. This is the cause of nine-tenths of the 
failures of inexperienced authors. 

The one absolutely helpless case is the writer who 
has no story to tell, "but who can fill up fifteen pages 
of typewriting with a mixture of dialogue and incident 
that leads nowhere." To such a writer one magazine 
manuscript reader thus pays his respects : 

"This sort of writer reminds me of a young fellow 
who applied for a job in a carpenter's shop and brought 
a perfectly smooth piece of board as a sample of what 
he could do. The carpenter asked him what it was 
for or what it fitted and found that it did not fit any- 
thing but was simply a beautifully smooth piece of 
work, planed and sand-papered, top, bottom and sides. 

"The carpenter told the young fellow to take it back 
home again and bring it to him next day with a mortise 
and tenon joint in it, or an ogee panel on one side — 
anything to show what the work on it was for." 

Another "reader" remarks : 

"Some people do not seem to understand that the ' 
short story should be restricted to a single incident. 
If it is a story of adventure there must be only one 
adventure. If it is a love affair it must be only one 
episode in the courtship. If it is a character sketch it 
must deal with one trait of character only." 



90 JOURNALISM 

There is no more common mistake made by the 
would-be magazine-writers than to imagine that a short 
story is a condensed novel. A short story should be 
like a flash-light picture of a single stone being laid 
in a wall. The novel is a description of the whole 
building from cellar to roof. 

Here is an example: — 

To the writer was shown one short story, printed in 
McClure's, which was a first attempt on the part of its 
author. It had been changed four times, forty-eight 
superfluous words had been cut out by twos and threes 
at a time and six explanatory and argumentative letters 
had been exchanged between author and publisher 
before the final proof was passed. 

All this trouble over a 3,000-word story submitted 
by mail by an unknown author, who had never written 
anything before, and by a magazine that receives sev- 
eral hundred manuscripts a month and can command 
the best writers ! 

Why? Because the story was there, and S. S. Mc- 
Clure knew it the moment he saw it and he rose to 
the bait like a pike. The author was one of his finds. 

"What is the particular element that you imply as 
so desirable when you speak of the story in a manu- 
script?" the writer asked Mr. McClure. 

"It must be human and there must be some motive in 
it," he answered immediately. "It may be cleverly 
written ; but so are advertisements. Adventure and 
incident may be there, but if there is nothing human 
in it, no tear will ever fall upon the page." 

The editors themselves can illuminate this question 
better than anyone else, for it is they who pass upon 
the stories. In a recent symposium in the Bookman 
prominent editors say some very interesting things on 
rejected manuscripts. Ray Long, Editor of the Red 
Book magazine discloses a remarkable case. "One year 
ago," he says, "we rejected a story by Pelham G. Wode 
which we recently accepted and published. When the 
story came the first time we had four others on hand 



AUTHORSHIP 91 

of a similar lightness in telling. When it was received 
the second time we had nothing like it." "No story," 
continues Mr.. Long, "should go into the discard until 
it has been the round of all the magazines — and then 
gone around again." 

Mark Sullivan, Editor of Collier's says, "The bulk of 
manuscripts that come to us are articles, of these we 
receive five times as many as we can print. Of fiction 
we cannot get enough of the kind that appeals to us 
as good. Short stories that made a great success in 
popular magazines fifteen or twenty years ago would 
not be accepted today. Why? A vogue has been 
created for stories of different technique — stories with 
a different formula." 

Charles Hanson, Editor of McClure's says with en- 
thusiasm, "Half the joy in being an editor is in dis- 
covering new writers. We stand ready to pay liber- 
ally for worthy fiction. We are anxious to encourage 
the writer with a future. The reason there has been 
such* an interest in poetry lately is because the poets 
are sincere. Manuscripts, nine times out of ten are 
rejected because they are unworthy. A really fine 
story never gets away from an editor, unless it is a 
question of the author's inflated price. Never Avas the 
time more propicious for the promising young writer 
than now. 

Arthur Vance, Editor of the Pictorial Review also 
speaks encouragingly to the young writer when he says 
in this symposium : "Every editor is looking for new 
writers. A manuscript may be rejected for a number 
of reasons ; generally because it is not interesting 
enough. Or, the editor may have too many of the 
same kind on hand. Or, the story may not be suited to 
the publication. But if it is really well done and inter- 
esting it will sell somewhere sometime." 



92 JOURNALISM 

LESSON NUMBER THIRTY-EIGHT 



PREPARATION AND TOOLS OP THE) .TRADE 

A college is a training school to prepare the student 
for the beginning of life's work. And the day of his 
graduation is well termed the Commencement Day, for 
he is supposed then to be prepared to begin life in 
earnest. So with the student who graduates from the 
College of Authorship. Our course should not be 
the end of study for this profession. It really should 
be the beginning. We do not term those who enroll 
pupils, but students. To be a student in fact as well 
as in name means success, and no man can truly suc- 
ceed in this profession who does not continue to be a 
student all through his life. 

Do not think that you have mastered our instruction 
by simply reading the lessons through once, or twice. 
Read them often, and each time new suggestions will 
be given you. Keep a notebook always at hand and 
use it freely. Don't let good thoughts escape your 
memory : they will mean good money some time. Also 
keep a theme book, in which to jot down any subject 
that may be suggested at any time. Occasionally run , 
over these themes and keep them fresh in your mind. 
You will find that each theme has a tendency to gather 
material. This will work in two ways. You will 
make notes and references occasionally under the 
themes, each one of which should have generous space, 
and then you will unconsciously gather material from 
all sources for each particular theme. So when you 
begin to look for a subject for an article you will be 
surprised to know how many you have on hand. And 
when you begin to write upon it you will be even more 
surprised to learn how much material and how many 
suggestions you have to begin with. 

But the special tools of the trade are the books 
which tabulate the experience of other people and the 
suggestions which they will give you in line with your 
work. Among the books to be consulted in connection 



AUTHORSHIP 93 

with our system — if indeed they may not well be con- 
sidered a part of it — are those of all the best authors 
bearing upon the subject of literature. Writing and 
reading should go hand in hand, for as Bacon has 
said — "Reading maketh the full man — and writing, 
the exact man." 

The constant companion of the writer should be a 
good dictionary, like "Webster's" or the "Standard," 
from the unabridged to the pocket editions. Such read- 
ing will make the student both full of the knowledge 
of words and exact in their use. One of the greatest 
marks of culture is shown in the choice of words. 
Study the dictionary both to enlarge and enrich your 
vocabulary, and to give you greater discernment in the 
use of words. 

Read the best authors for style and felicity of ex- 
pression. Read Ruskin for style, Addison for clear- 
ness, Thackeray for sarcasm — if you must use it — 
Kipling for originality and strength, and Macaulay 
for the combination of elegance and strength. 

In addition to these works the student should be in 
touch with a good library, private or public, where he 
may consult some standard encyclopedia, works of ref- 
erence, and all the leading periodicals. Thus equipped 
and furnished he can not fail, for even though he 
should never sell a production he has gained an educa- 
tion and enriched his own life beyond price. 

But let us hope that he will put that education to 
practical use in the profession of journalism or author- 
ship and give others the benefit of his acquirements. 

CARD OF CREDENTIALS 

The Card of Credentials, which is sent to every stu- 
dent in our courses on Journalism and Authorship, is 
to be used as a means of introduction to secure material 
for stories. It should never be sent as an introduction 
in selling them. Each story must stand on its own 
merits. Editors don't ask "Who are you?" but "What 
kind of a story have you?" 

One of our students used his card to obtain admis- 



94 JOURNALISM 

sion to a bull fight in California, where he obtained 
excellent material for a story. Another was admitted 
free to a great reproduction of "The Passion Play," 
by showing this card, where he was taken behind the 
scenes and given every advantage for his "write-up." 

WHAT THE TYPEWRITER WILL DO 

Not long ago a young woman wrote a short article 
which she thought adapted to a standard magazine, and 
which she was exceedingly anxious should be published 
in that magazine. The article was returned, stamped 
with the usual "unavailable," which of course did not 
imply "lack of literary merit." There was not the 
faintest suggestion of its having been unfolded or even 
glanced at, so the author of it, being resolved upon a 
practical joke, had the article typewritten, copied 
verbatim, signed her mother's name, sent it back to 
the editor, and within two weeks received a check for 
it. This speaks loudly in favor of typewritten manu- 
scripts. What would the august editorial personage 
say if he knew? 



LESSON NUMBER THIRTY-NINE 



HOW TO ACQUIRE LITERARY STYLE 



From an Address before Eoodley Literary Society of 
Oxford by Frederick Harrison 

About all that can be laid down as law in style is 
embraced in a sentence of Mme. de Sevigne : "Never 
forsake what is natural; you have molded yourself in 
that vein, and this produces a perfect style." More 
than this can not be said. "Be natural, be simple, be 
yourself ; shun artifices, tricks, fashions. Gain the tone 
of ease, plainness, self-respect. To thine own self be 
true. Speak out frankly that which you have thought 
out within your own brain and have felt within your 
own soul." The secret of Wordsworth, of Goldsmith, 



AUTHORSHIP 95 

and Homer is that they never tried to get outside of the 
natural, the simple, the homely. ^ 

Those writers are commended for study who have no 
imitators and who have founded no schools, as, in the 
English, Swift, Hume, Goldsmith, Thackeray, and 
Froude. Meredith, he says, is too whimsical, Ruskin 
often too rhapsodical, Stevenson too "precocious," 
George Eliot too laboriously enameled and erudite. 

Students are advised to think out clearly in their 
own minds and then put it in the simplest words that 
offer, just as if telling it to a friend. They are warned 
against slang, vulgarity, and long sentences. Latin 
words are not condemned, because English now con- 
sists of Latin as well as Saxon ; "but wherever a Saxon 
word is enough, use it; because it is the more simple, 
the more direct, the more homely." 

Imitation in literature is declared a mischief. "John- 
son, Macaulay, Carlyle, Dickens, Ruskin, have been 
the cause of flooding us with cheap copies of their 
special manner. And even now Meredith, Stevenson, 
Swinburne, and Pater lead the weak to ape their airs 
and graces. All imitation in literature is an evil." 

But it is iterated that the reading of the best books 
improves the style, and that Swift, Defoe, and Gold- 
smith are best exponents of pure English. 

FIND TH^ RIGHT WORD 

Some time ago a visitor to Rudyard Kipling's home 
was surprised, upon entering the library, to find that 
world-renowned story writer stretched on the floor 
on an oriental rug and entirely absorbed in an open 
book. So great was the visitor's curiosity to discover 
what volume could so enthrall Rudyard Kipling that 
upon accomplishing his business he put the question. 
He was told, to his astonishment, that it was a dic- 
tionary, and learned furthermore not only that Kipling 
considered the dictionary the most useful book of 
reference in existence, but that to him it was a fascin- 
ating, profitable study as well. It was in fact not what 
this greatest of modern word painters had seen, or 



96 JOURNALISM 

heard, or experienced, that made him so phenomenally 
successful, but his constant effort to fit the right word 
into the right place. 

Every year the publishers of this country send back 
hundreds of thousands of stories as unavailable. Why? 
It is not, as is popularly supposed, because writers lack 
the material, the plot, the incident necessary for a 
Kipling story. Nearly every one finds in his every-day 
life material for as original, absorbing, successful, and 
money-bringing stories as any that have ever been 
written, but it is the lack of power to put it into fascin- 
ating form — to fit the right word into the right place — 
that leads to failure. Their diamonds may be among 
the finest in the world, but they are rough — they lack 
the form, the finish, the polish that command a ready 
market. 

Guy de Maupassant, another of the greatest of mod- 
ern story writers, has said : "When you have an idea 
there is only one noun to express it, one verb to enforce 
it, one adjective to qualify it." The secret of successful 
authorship depends upon finding that right noun, right 
verb, right adjective. 



LESSON NUMBER FORTY 



HOW CAN I LEARN TO WRITE) WELL ? 



By J. Matthewman 

To achieve your object, read and write constantly 
and carefully. 

Your reading should be deliberate; the exact mean- 
ing and weight of words and phrases should be sought 
after, especially when at all unusual or apparently 
strained. 

Particularly forceful, beautiful, or dainty passages — 
prose or poetry — should be read, re-read, and pondered 
over until their charm and strength have been mentally 
digested. Make your mind a storehouse of such treas- 



A UTHORSHIP 97 

ures, and your own style will, of necessity, improve. 
"A little leaven leaveneth the whole lump." 

Read "Fors Clavigera," in fact, all of Ruskin's works, 
except those which are mostly or entirely technical. 
Study with particular thoroughness the passage in "Ses- 
ame and Lilies" which treats of the power and value of 
words, and of the necessity of weighing with due care 
what one reads. 

Read Addison for clearness ; Thackeray for sarcasm ; 
of recent authors J. H. Shorthouse for elegance, and 
Rudyard Kipling for originality and strength ; Hood 
and Holmes for sprightly versifying ; Augustus Birrell 
for light, crisp, sparkling prose; Tennyson and Wat- 
son, Sill and Lanier, for elegant, forceful, alliterative 
English. 

The study of proverbs is helpful. A proverb is 
multum in parvo. 

Write regularly, and, whenever it is possible, express 
yourself in pure, terse, nervous Saxon. Do not sacri- 
fice sense to effect ; but, on the other hand, bear in mind 
that a gem is all the more valuable and attractive for 
being well set. Do not be afraid to use a well-known 
foreign expression in case you have to choose between 
that and clumsy English. Never use a long word 
where a short one will serve your purpose just as 
well. Brevity is strength. 

Write your thoughts and ideas, one at a time, and 
then read, re-read, and amend wherever possible. Do 
not be satisfied with anything short of perfection. 
Before you let anything leave your hand have the 
confidence that it is the best you can write. Should 
it be necessary, alter it so much that finally not more 
than one word of the original draught remains, like 
the word "whereas" of a certain English law. 

Read aloud what you write. Much that looks cor- 
rect sounds faulty. Have your last copy typewritten, 
for in type small errors, especially those of punctua- 
tion, are glaring. Remember that the best writers are 
their own most merciless critics. 



98 JOURNALISM 

Write short critiques of the books you have read, 
and then submit what you have written to some one 
in whose critical judgment you have confidence. 

Even in ordinary correspondence write the best 
letter you can write. Always try to express yourself 
exactly, not approximately; and always find out for 
yourself if you have succeeded. "Practice makes per- 
fect." 

To gain accuracy and succinctness, practice docket- 
ing. Write a synopsis of a paragraph or of a chapter. 
Give the contents and nothing more. Then revise and 
correct. Cut out every superfluous word and amend 
until no further betterment is possible. A study of 
Charlotte Bronte's style would be useful. Macaulay 
would often recast an entire chapter because one para- 
graph did not please him ; Tennyson would spend a 
morning polishing a single line. 

Do not imitate the style of any writer, but assimilate 
what is good. In writing, as in everything else, "Best 
be yourself — imperial, firm, and true." 

In your own writing, tolerate no inaccurate, weak, 
or doubtful word or phrase. Translation into English 
will give practice in the weighing of words. 

As "Rome was not built in a day," approximate per- 
fection in writing can only be attained by prolonged 
and conscientious endeavor. As Pope wrote : 

True ease in writing comes by art, not chance, 
As they move easiest who have learned to dance. 



A UTHORSHIP 99 

LESSON NUMBER FORTY-ONE 



the: author and the: e;ditor 

The author of stories long or short should early 
realize the important relation which must exist between 
himself and his editors. The one is dependent upon 
the other. The novice is inclined to think that all 
writers must dance attendance upon editors. But on 
further investigation he realizes that the editor needs 
him quite as much as he needs the editor; that the 
editor needs him not as a novice, but as a writer of 
good stories, to help make a good magazine and to 
give him a good business. For such writers editors are 
constantly on the lookout, and when they see them 
they are glad to clasp hands for mutual profit. 

For the benefit of aspiring writers, and to help them 
to secure and maintain the favor of desirable editors, 
we will quote a few sane suggestions from James K. 
Reeve's excellent work on "Practical Authorship." We 
have abridged them for this purpose, but they lose 
none of their force in this form : 

"Never roll your manuscript. Send it flat, if a 
bulky manuscript ; or folded, if a small one. 

"In sending any manuscript that is to be returned 
by mail, enclose with it an envelope of proper size 
and shape, addressed and fully stamped. 

"Take at least ordinary precaution to guard against 
the loss of your manuscript. Write your name and 
address plainly upon the envelope, with a return request 
to the postmaster. 

"Write your name and address in the upper left hand 
corner of your manuscript. 

"Never send your manuscript under one cover and 
your letter of notification under another. 
- ''Don't send your manuscript today and write an im- 
patient note day after tomorrow to know if it will 
be accepted. 

"Never ask an editor to examine a manuscript upon 
which you have not exhausted the final effort. Bear in 



100 JOURNALISM 

mind that he has plenty of others upon his desk, the 
product of past masters in the art of literature, who 
have left nothing undone that* their knowledge of the 
craft can suggest to make the work perfect. 

"Offer nothing but typewritten copy for editorial 
inspection. Type copy is more easily read than even 
the best pen-script. It presents the thought in clearer 
form, so that it may be grasped at a glance. 

"For ordinary manuscripts to be sent by mail, the 
best size of paper to use is a sheet 8^ by 11 inches. 
This should be a clear white; firm in texture, not too 
heavy. 

"Upon a sheet of the size named a margin of one 
inch should be reserved on the left side, and an equal 
space at the top and bottom. This is for the use of the 
editor in case he finds it necessary to 'edit.' Type- 
written manuscript should be double-spaced. 

"Leave as little 'editing' for the editor as you can. 
Study closely the pages of well-written magazines. Ob- 
serve their methods of punctuation, learn the art of 
correct paragraphing, understand the correct use of 
quotation marks, and make use of the knowledge thus 
acquired. If you do not attend to these matters the 
editor must — if he accepts your manuscripts — before 
it can go to the composing room." 



LESSON NUMBER EORTY-TWO 



a place: for all writers 

The agricultural press offers a wide scope for writ- 
ers who understand the process of skilled husbandry, 
horticulture, floriculture, or the aspects of rural life. 

The student of natural history, who is observing dif- 
ferent phases of animal life, will find a ready market 
for his wares in almost every journal in the country. 

The mechanic who understands the use of tools, the 
mineralogist, the leather tanner, the cotton grower, 
and in fact all writers who can give information con- 



AUTHORSHIP 101 

cerning any industry of our daily life, will find avenues 
for expression in the trade and technical journals, and 
in the columns of the newspapers. 

The housewife who understands the care of a win- 
dow garden, the making of home delicacies, the re- 
fining arts of housewifery, will find an open door to 
the publication in the domestic journals and in the 
special departments of newspapers and magazines. 

The teacher through the press and the educational 
journals may preside over a larger school than that 
afforded by the occupants of the benches in her school- 
room. 

Through the religious journals the preacher may 
number his congregations by the thousands, in addi- 
tion to those whom he addresses on Sunday. 

The man of out-of-door life and strength of arm 
or leg, of skill with rod or gun, may tell of the life 
that he knows best through the various journals de- 
voted to recreation and sportsmanship. 

The funny man, too, has his place in the procession, 
and the humorist, and those whose profession is to 
look upon the bright side of life are gladly welcome, 
not only to humorous papers but also to some columns 
of nearly every periodical. 

The traveler, who trots the globe "around, or peers 
into the strange nooks and corners of the world, will 
find itching ears to hear, -through the columns of the 
press of the strange or wonderful things which he 
has seen. 

In fact any one who can write interestingly upon 
any phase of life, vegetable, animal, or human ; or who 
can describe in an entertaining way any phases of 
fact or fiction concerning this world or any other, 
may find a place awaiting him in the great and grow- 
ing company of writers. 



102 JOURNALISM 

LESSON NUMBER FORTY-THREE 



HOW TO SUCCEED AS AN AUTHOR 



By William Dean How ells 

My regular procedure is first to select the topic of 
the story. This is usually something that has occurred 
to me, perhaps years before, and that has been devel- 
oped by occasionally thinking about it. 

The next step is the selection of characters, which is 
the matter of greatest care and study, and I never map 
out the exact course of the story in advance. Natur- 
ally I have a more or less distinct notion of how it is 
to go, but I find that after I begin writing, one chapter 
suggests another and the story grows of itself. 

Do I receive requests for advice from young writers ? 
Very often, and if the number of such inquiries com- 
ing to me affords any indication there is no danger of 
the extinction of the American novel, of which some 
critics seem to be afraid. 

There isn't much that can be said to these young 
aspirants for literary fame. The best advice I know 
is : "Go ahead, do your best, write the truth that you 
have as you see it; and if- one other person feels and 
appreciates it as you do the effort will not have been 
wasted." 

Writing is so different from other kinds of work, it 
depends so much upon individual character and habits 
of mind that it is impossible to lay down any hard 
and fast rules in relation to it. No sooner have you 
done so than somebody violates them all and still 
comes out on top. Still it may be possible for an old 
stager, who has kept in more or less intimate touch 
with the literary world for a good many years to say 
a word or two, chiefly in the way of encouraging and 
reassuring the beginner, that will not be wasted. 

I will not attempt to instruct the beginner as to how 
to prepare himself or herself (we mustn't forget the 
"her" in this) for writing. As I said before, literature 



A UTHORSHIP 103 

is bound by no hard and fast rules. There is no set 
of books, as in law or engineering, from which one 
must get his first principles. I don't mean that an 
acquaintance with the best writing is of no value, but 
of vastly greater importance is the ability and habit of 
observing the life that exists about one, which nobody 
has yet put into a book. 

If the young person we are discussing has the gifts 
of mind which will make him a successful writer, these 
qualities may be safely left to indicate the course 
which his "preparation" shall take. Only in this way 
can variety, originality, and strength be preserved in 
our literature. 

From this you may see that I am not one of those 
who constantly uphold the classic standards as models 
for the young literary workers. I guess that fact is 
well enough known to those who are sufficiently ac- 
quainted with me to be interested in what I say. The 
natural development of the novel has been from the 
classic, through the romantic, to the naturalistic. I 
like the latter term better than realistic because realism, 
in the minds of many persons, is associated with what 
is sordid and unpleasant. 

Of course that isn't true, for reality has its cheerful 
and encouraging sides as well as the reverse. Realism 
or naturalism being the present, and perhaps the per- 
manent, garb of the novel in its highest form, it follows 
that the writer's only text book which he must never 
disregard is life, life in some one of its infinite phases. 
Sincerity is the great essential. Truth is the one motto 
that the young writer should put in big letters above 
his desk. So long as he conforms to that his work 
can not be wholly lost. 

The tendency of recent years has been, I think, 
toward naturalism. By that I do not mean that it 
has commanded the greatest number of readers. Man- 
kind, at least the majority of him, is conservative, 
sticks to accepted standards, demands the same kind 
of food that he has been accustomed to. 



104 JOURNALISM 

I never copy the character of an individual. That 
would be to give a portrait. What is taken represents 
a type. Every character created by an author comes 
from his own individuality. 

When our young person sets out in a serious attempt 
to write, having fully absorbed, let us say, the life 
about him, he is surprised to find that it is hard work. 
He decides that he can not hope to become great for he 
has been taught that the great writer, the genius in 
literature, throws off his masterpieces without an 
effort. I know of nothing more discouraging to the 
young writer than this genius theory, and for the relief 
of any to whom it still exists as a bugaboo, I will say 
that I am pretty sure it's a myth. The only genius 
worth talking about in writing as in everything else 
is the genius of hard work. 

Of course brains are necessary and not all men have 
the mental equipment to become successful authors, 
but the idea that good literature comes as a sort of 
heaven-sent inspiration is erroneous. Not to mention 
myself, I can say from my acquaintance with suc- 
cessful authors that most of the good literature of 
recent years has been ground out by painstaking and 
laborious work. I suspect that the same thing would 
be found to be true of earlier writers, had there been 
newspapers and reviews to probe into their daily lives 
and habits of work. 

Closely akin to this genius delusion is the idea that 
a man can write with good results only when the fit 
is on him. This is a lazy man's theory, but it is easy 
for a young author to persuade himself into it. The 
only way for a writer to accomplish anything is to 
set aside certain hours of the day (not too many) for 
his work, and devote himself to the work then as 
completely as though he were in an office or a factory. 
It may be hard at first, but he will soon become accus- 
tomed to it, and will grow into the habit of working at 
that time. 

I don't believe in trying to write so many hundred 



AUTHORSHIP 105 

words every day, but if the writer devotes a certain 
amount of time to his task, even if he does not accom- 
plish much at each sitting, he will find the results 
mounting up in a satisfactory way. The man who 
waits for inspiration is likely to wait a long time for 
recognition. 

I don't believe that a writer should try to lose him- 
self in his story, as is so often recommended. The 
advice sounds well, but isn't sound. I hold that the 
greatest actor is the one who never forgets himself, 
and so it is in writing. The author should stand 
constantly in the attitude of critic and inquire, "Is 
this true ? Is it the way such a character would act or 
speak under such circumstanies ?" He shoold have all 
his characters clearly delineated. They should stand 
out plainly before his mind's eye. But, after all, they 
are the creations of his own individuality, and must 
remain so, if the story is to be worth anything. 

As to the best time and the best way to work, each 
man must decide for himself. I used to do most of 
my work at night, a survival of the newspaper habit, 
I suppose. But now I have changed to the morning, 
and nearly all my work is done before the noon hour. 
I think that that is really the best time, that a man's 
mind is fresher and more vigorous then. In compos- 
ing I generally use a pen, because I want to see the last 
word or sentence I have written, where careful thought 
is involved and I am going slowly. But I have a type- 
writer in my study, and when I see plain sailing ahead 
I turn to that. 

I may say, too, that my greatest difficulty, and one 
that I probably share with many other writers, is in 
making a beginning. It is mighty hard work sometimes 
to start a story that always carries itself along once 
it is under way. 

It is often said that too many books are written now- 
adays. I don't agree with that. 



MATERIAL AND TOOLS 

"Here's the marble, here's the chisel, 
Take it, ^ork it to th^ ^ill : 

Thou alone must shape th^ future, 
Heaven send thee strength and skill." 



BOOK THIRD 



Markets for Manuscripts 

WHERE TO SEND MATERIAL TO MAKE 
MONEY WRITING. WHERE TO SELL 
NEWSPAPER ARTICLES, SHORT STORIES, AD- 
VERTISING MATERIAL, MOTION PICTURE 
PLAYS, POEMS, POPULAR SONGS AND OTHER 
MANUSCRIPTS. THE KINDS OF MATERIAL 
DESIRED AND THE RATES PAID BY DIFFERENT 
PUBLICATIONS. 



LESSON NUMBER FORTY-FOUR 

All manuscripts should be carefully prepared accord- 
ing to the instructions given in our lessons and the writer 
should be careful to include sufficient postage for their 
return should they not be found available. The author 
should always keep a carbon copy of his manuscript as a 
safeguard against a possible loss of the original. 

The leading magazines pay well for all stories and 
articles accepted. Popular writers like Rudyard Kipling, 
Conan Doyle, George Randolph Chester, Mary Roberts 
Rhinehart, and some others less famous receive a thou- 
sand dollars for each of their stories. 

The best newspapers usually pay from five to eight 
dollars a column for material. 

The author should study carefully the class of maga- 
zines or papers to which he intends to send his stories. 
He should remember that styles in stories change as in 
hats and gowns. He should also bear in mind that nearly 
all periodicals have a certain aim and object in their work. 
Hence it is necessary for the writer to examine the maga- 
zines and papers to which he desires to contribute very 
carefully. He should also be a wide reader of the best 
articles- and books of fiction that have been produced in 
recent years. And he should keep abreast of the time by 
reading everything in the newspapers, magazines or books 
of special popular interest. 

Keep a record of your manuscripts. A card catalogue 
makes an excellent system. Write the name of each 
story at the head of a card and arrange the cards alpha- 
betically, reserving an entire card for data concerning 



108 JOURNALISM 

the story with names of publishers to whom it has been 
sent. Do not wait for your stories to be accepted before 
attempting to write others. Send them out as fast as they 
are written and do not be discouraged if they are re- 
turned. Remember that there is a reason for the return 
of every manuscript. 

Try to make your stories and manuscripts so appeal- 
ing that they will not come back. When you accomplish 
this you will feel that all past efforts and discourage- 
ments are as nothing compared with the joys and the 
rewards which must come to you as a creative artist. 

The following list of publishers will help the student 
to find a market for all material worthy of publication. 
The classes are arranged alphabetically and include the 
best periodicals that pay for material. 



LESSON NUMBER FORTY-FIVE 

ADVERTISING JOURNALS 

There is good money in writing advertisements and 
articles for advertising journals. In fact so enticing does 
this field appear to some writers that they occasionally 
step aside from their regular work to pick the big financial 
plumbs from the publicity tree. The following journals 
purchase material: 

Judicious Advertising, S. E. Cor. Wabash and Madison, 
Chicago: A Monthly, desires manuscripts not ex- 
ceeding three thousand words, illustrated articles pre- 
ferred, those giving practical and specific information 
about advertising and salesmanship problems. The 
rates are one-half cent a word and upward according 
to the value of the article. 

Advertising and Selling, 71 West 23rd St., New York: 
Articles from 1,600 to 3,000 words, containing facts and 
figures on sales and advertising. 

American Retailer, 906 Longacre Building, New York: 
Articles about 1,000 words on advertising, salesman- 
ship and window dressing. 

Printer's Ink, 12 West 31st St.. New York: A leading 
advertising Journal featuring articles on advertising 
and sales promotion. Pays well for manuscripts. 
AGRICULTURAL JOURNALS 

California Cultivator, 115-117 North Broadway, Los An- 
geles: Weekly, using material of cultural nature per- 
taining to California conditions. Buys California 
photographs of cultural value. 

Homeseekers' Weekly, 316 California Building, Los An- 
geles: Monthly, devoted to the building and better- 
ment of homes. Uses short stories, verses and articles, 
of interest to Southern Californians. 

Orchard and Farm, Hearst Building, San Francisco: 



A UTHORSHIP 109 

Monthly, desiring articles with illustrations pertain- 
ing to the West, particularly California. Payment on 
acceptance. 

Western Farm Life, Denham Building, Denver: Semi- 
monthly. Short western stories, illustrated, not ex- 
ceeding a thousand words. Buys photographs of poul- 
try, dairy and farm scenes. 

American Farming, Pontiac Building, Chicago: Monthly. 
Buys agricultural and livestock articles, preferably 
illustrated, also good photographs of livestock. 

Breeders' Gazette, 542 South Dearborn St., Chicago: 
Weekly Pays $3 to $10 a column for material of in- 
terest to stock farmers. 

Indiana Farmer, Box 143 Indianapolis: Weekly. Articles 
* on livestock, dairy horticulture, 300 to 600 words. 
Pays promptly, at rate of $2.50 per thousand words. 

Up-to-Date Farming, 227 West Washington St., Indian- 
apolis: Semi-monthly, to promote the farmer's busi- 
ness. Pays $2.50 per 1,000 words. 

Iowa Farmer, 316 Securities Building, Des Moines: Semi- 
monthly. Articles really telling how to do things. 

Successful Farming, Des Moines, Iowa: Monthly, de- 
sires manuscripts of about 1,000 words, preferably il- 
lustrated. Uses short stories and some verse. Buys 
photographs of interest to farm folks. Pays $3 to 
$6 a 1,000 words. 

Kansas Farmer, 625 Jackson St., Topeka, Kansas: Month- 
ly. Buys unmounted prints of agricultural livestock 
scenes in Middle West and brief articles. 

Inland Farmer, Louisville, Kentucky, Semi-monthly: De- 
sires practical farm and stock articles appealing to 
farmers in central and southern states. Pays $2 a 
1,000 words. Buys some photographs. 

Market Growers' Journal, Louisville, Kentucky: Semi- 
monthly, with department on "Gardeners' Club." 
Pays $1.00 for every letter on the writer's experience 
in farming, with a prize of $2.00 for the best article. 

Trucker and Farmer, New Orleans: Monthly. Buys agri- 
cultural articles prepared by U. S. Demonstrators and 
Professors of Agricultural Colleges. 

Maine Farmer, Augusta: Weekly: Poultry, home and 
children's departments. State remuneration expected. 

Sunday American, Boston: Buys short articles on agri- 
culture and rural subjects pertaining to New Eng- 
land, also agricultural photographs. 

Farm and Home, Springfield, Mass.: Semi-monthly, illus- 
trated feature article on agricultural topics, about 1,500 
words in length. Good fiction from two to ten thou- 
sand words desired. Buys separate photographs of 
farm and agricultural scenes. 

Gleaner, 95 West Fort St., Detroit, Michigan: Semi- 
monthly. Buys short stories, 800 to 1,500 words in 
length, having farm setting and healthful viewpoint. 
Pays $5 per 1,500 words. 

Former's Wife, 61 East 10th St., St. Paul, Minn: Monthly. 
Buys articles, short stories and poetry of interest to 
women on the farm, also children's verse. 



110 JOURNALISM 

Star, Kansas City, Mo.: Weekly: Desires articles based 
on personal experience on Orchard Heating, Spray- 
ing, Fruit Growing, etc., illustrated by photographs. 

Profitable Farming, Box 1057, St. Joseph, Mo.: Semi- 
monthly. Articles of 500 to 1,500 words on Farming, 
Hunting, Fishing, Bees, Poultry, etc. Buys photo- 
graphs of livestock and farm scenes. 

Montana Farmer, Great Falls: Semi-monthly. Material 
of assistance to farmers in Montana. Photos of Mon- 
tana farm scenes. 

Twentieth Century Farmer, Omaha, Nebraska: Weekly, 
desires articles prepared in magazine style, illustrated. 
Purchases separate photographs. 

Gardeners' Chronicle of America, 1 Montgomery St., Jer- 
sey City, N. J.: Short agricultural articles. Pays $5 
a 1,000 words without photographs. 

La Hacienda, Sidway Building, Buffalo: Illustrated 
monthly. Pay $5 a thousand words without photo- 
graphs, and $10 to $25 a thousand for illustrated 
articles. 

Garden Magazine and Farming, Garden City, N. Y.: 
Monthly, desires articles illustrated by photographs. 

American Agriculturist, 315 Fourth Ave., New York City: 
Weekly. Buys short articles, illustrated with two or 
more photographs. Pays $3 per column. 

Rural New Yorker, 409 Pearl St., New York City: Pur- 
chases good photographs and material by farm 
women. Also holiday fiction. 

Farm and Fireside, Springfield, Ohio: Every Saturday. 
Desires short pithy articles on phases of farm life. 
Short stories of romance and adventure. 

Country Gentleman, Independent Square. Philadelphia: 
Weekly. Desires short stories and articles on "House- 
hold Economy." Also articles on "How You Have 
Done It." Buys jokes and verse for country dwellers. 

Farm and Ranch, Dallas, Texas: Weekly. Buys Feature 
articles, humorous, travel, fiction, etc. of interest to 
rural people. 

Northwest Farm and Orchard, 112 Division St., Spokane, 
Washington: Desires material pertaining to agricul- 
ture, the farm, home, etc. 

American Thresherman, Madison, Wisconsin: Buys 
manuscripts of about 2,000 words on farm subjects. 

Canadian Countryman, 60 Colborn St., Toronto: Weekly. 
Desires special stories and articles bearing upon Can- 
adian conditions. Pays $3 to $5 per 1,000 words. 



LESSON NUMBER FORTY-SIX 
ARCHITECTURAL AND BUILDING 

Carpenter, 222 East Michigan St., Indianapolis: Monthly' 

journal for carpenters. Pays for article's on carpentry. 
Architecture and Building, 23 Warren St., New York: 

Monthly. Buys technical articles on architecture. 
Building Age, 239 West 39th St., New York: A monthly. 

Pays $8 a printed page for text and photographs on 

practical building articles. 



AUTHORSHIP 111 

AVIATION 

The greatest conquests of the century will be made 
in teh air. Every well-informed writer should keep in 
touch with the advancements in aviation. The following 
magazines will be intesting and should afford a market 
for good material: 

Aerial Age, Foster Building, New York: Weekly. 
Buys well written articles on aviation and non-techni- 
cal stories. 

Air Service Journal, 120 West 32nd St., New York: 
Weekly. 

Flying, 280 Madison Ave., New York: Monthly. 

AUTOMOBILE AND GAS ENGINE JOURNALS 

Electrical Vehicles, Monadnock Building, Chicago: Pays 
$3 a 1,000 words for articles and fiction reflecting the 
electric pleasure car or commercial truck. 

Motor Age, 910 South Michigan Ave., Chicago: Weekly. 
Uses short stories or travel articles, of motoring in- 
terest. 

Power Wagon, 332 South Michigan Ave., Chicago: Month- 
ly. Buys articles up to 3000 words, preferably illus- 
trated, on new and unusual appliances, also photo- 
graphs. 

Auto News, 370 Columbus Ave., Boston: Weekly. Buys 
articles of interest to car owners, also photographs 
and short fiction. 

Motor World, 239 West 39th St., New York City. De- 
sires news concerning merchandising methods for 
dealers in cars, and of the automobile trade. 

BOOK PUBLISHERS 

Nearly every writer desires sometime to produce a 
book. Long fiction is a most commendable goal for the 
ambition story writer. And the fields of philosophy, re- 
ligion, poetry and general literature offer ripe harvests 
to the literary specialists. The field of influence is wide 
and the author of a successful book will interest, educate, 
or influence thousands of lives throughout the coming 
years. These publishers are among the best in the country. 

Send book Mss. by express and save letter postage. 
Ask that the manuscript be returned if not available by 
express, "collect." 

M. A. Donohue & Co., 701 South Dearborn St., Chicago: 
Publish extensive lines of books for boys and girls, 
also adult fiction. 

Laird & Lee, Chicago: Publish fiction including high- 
class detective, juvenile, and other stories up to 100,- 
000 words. 

A. C. McClurg & Co., 330 East Ohio St., Chicago: Pub- 
lish all kinds and classes of books, except poetry. 

Rand, McNally & Co., Chicago: Publish school text 
books, juvenile books, illustrated gift books, etc. 



112 JOURNALISM 

Cook Publishing Co., David C, Elgin, Illinois: Religious 
periodicals for readers of all ages, books of fiction, 
and Sunday School articles. 

Bobbs-Merrill Company, Indianapolis: Fiction and mis- 
cellaneous books and stories. 

Ball Publishing Company, 200 Summer St., Boston: Books 
of essays, verse, etc. 

Houghton, Mifflin Co., 4 Park St., Boston: Books of all 
classes. 

Little, Brown & Co., 34 Beacon St., Boston: Desire novels 
of 40,000 words and upward. 

Lothrop, Lee & Shepard Company, 93 Federal St., Bos- 
ton: Publish adult and juvenile fiction, 50.000 to 100,- 
00 words. 

Small Maynard & Company, 15 Beacon St., Boston: Fic- 
tion publishers. 

Doubleday, Page & Company, Garden City, Long Island: 
Publish books on gardening and outdoor subjects, 
also fiction. 

D. Appleton & Company, 35 West 32nd St., New York: 
Publish both fiction and juveniles. 

Century Company, 353 Fourth Ave., New York: Publish 
fiction, art and biography. 

Dillingham & Company, 12 East 22nd St., New York: 
Publishers of fiction. 

Funk, Wagnalls & Company, 360 Fourth Ave., New York: 
Publishers of sociological, travel, biographical and 
religious works. 

Harper & Bros., Franklin Square, New York: General 
publishers, including books on travel, music, religion, 
science and literature. 

Henry Holt & Company, 34 West 33rd St., New York: 
Publishers of fiction, biography, and school books. 

MacMillan Company, 64 Fifth Ave., New York: General 
publishers. 

Piatt & Peck Company, 354 Fourth Ave., New York: 
Publish calendars, books for children, collections of 
brief, inspirational essays, etc. 

Jacobs & Company, 208 West Washington Square, Phila- 
delphia: Publishers of fiction for children and adults. 

Lippincott & Co., J. B., Washington Square, Philadelphia: 
General publishers. 

Penn Publishing Co., 925 Filbert St., Philadelphia: Mis- 
cellaneous publishers, specializing upon juveniles. 



LESSON NUMBER FORTY-SEVEN 

BRITISH MAGAZINES THAT BUY MSS. 

There is a very good market for American stories in 
England. Return postage must be in English stamps, 
money order or international reply coupon, purchasable 
at postorfice. 

Academy, 63 Lincoln's Inn Fields, W. C.: Uses literary 

subjects and short articles. 
Aeronautics, 8 London Wall Buildings, London, E. C: 

Uses articles on aeronautics. 



AUTHORSHIP 113 

Answers, Fleetway House, Farringdon St., London, E. C: 
Pays $5 a column for short original articles, appealing 
to British readers. 

Blackwood's Magazine, 45 George St., Edinburg: Ac- 
cepts high-class material on sports, travel, history, 
etc. 

Boy's Friend, Fleetway House, Farringdon St., London, 
E. C. : Uses healthy serial stories of adventure. 

English Illustrated Magazine, 538 Strand, London, W. C: 
Uses stories, illustrated articles and verse of popular 
nature. 

The London Magazine, Fleetway House, Farringdon St., 
London, E. C: An illustrated monthly using short 
stories based on love, adventure, fancy, etc. 

EDUCATIONAL JOURNALS 

World's Chronicle, 542 South Dearborn St., Chicago: 
Weekly. Using world's progress and character build- 
ing material. 

Educator Journal, 28 South Meridian St., Indianapolis: 
Monthly. School news and articles desired. 

Atlantic Educational Journal, 19 West Saratoga St., Balti- 
more: Monthly. Material helpful to teachers in 
classroom. 

Popular Educator, 50 Bromfield St., Boston: Monthly. 
Practical articles on teaching modern subjects. 

Primary Education, 50 Bromfield St., Boston: Monthly. 
Makes a special of stories for use of teachers in 
their work. Uses other material concerning games 
for children, etc. Pays $2.50 a column. 

American Education, 50 State St., Albany, N. Y.: Monthly. 
Contributions not exceeding 1,500 words. Educational 
topics desired. 

School Journal, 70 Fifth Ave., N. Y.: Wishes short, clear 
accounts of what's doing in the educational world, 
also stories of school work and programs of special 
days. 

Teachers' Magazine, 31 East 27th St., New York: Month- 
ly. Desires simple dramatizations and games, mo- 
tion songs, stories and recitations with action, etc. 

Progressive Teacher, Nashville, Tenn.: Articles of in- 
terest to teachers and parents. 

Industrial Arts, 129 Michigan St.. Milwaukee, Wis.: 
Solicits articles dealing with industrial arts and edu- 
cation. 

ELECTRICAL AND OTHER TRADES JOURNALS 

Electric Traction, 431 South Dearborn St., Chicago: Pays 
one-half a cent a word for practical articles of in- 
terest for men engaged in electric railwav business. 

Electrical Review and Western Electrician, 608 South 
Dearborn St., Chicago: Weekly. Pays one-half a 
cent a word for material of electrical news nature. 

Edison Monthly, Irving Place and 15th St., New York: A 
market for some good short verse on electrical sub- 
jects for which it pays 50 cents a line. 



114 JOURNALISM 

Electrical World, 239 West 39th St., New York: Weekly. 
Buys technical matter regarding electrical engineer- 
ing. 

Wireless Age, 456 Fourth Ave., New York: Monthly. 
Buys authortative articles on wireless telegraphy and 
telephony. 



LESSON NUMBER FORTY-EIGHT 
ENGINEERING PUBLICATIONS 

Engineering and Mining Journal, 10th Ave. and 36th St., 
New York: Weekly. Buys articles treating of the 
progress in arts of mining and metallurgy. 

Engineering Magazine, 142 Nassau St., New York: De- 
sires professional material on engineering subjects. 

Machinery, 49 Lafayette St., New York: Devoted chiefly 
to machine shop practice and similar subjects. Pays 
from $5 to $8 a 1,000 words. 

Power and the Engineer, 239 West 39th St., New York: 
Weekly. Desires live manuscripts dealing with gen- 
eration and transmission of power. 

Gas Engine, 221 East 7th Ave., Cincinnati: Uses illus- 
trated articles on unique application of gas engine 
power. 

Farm Engineering, Springfield, Ohio: Pays from one- 
half a cent a word up and $1.00 each for illustrations 
for articles along farm engineering lines. 

FINANCIAL BANKING AND BUSINESS 
PUBLICATIONS 

California Industries Magazine, 657 Monadnock Building, 
Ban Francisco: Uses manuscripts of from 1,000 to 
2,000 words on industries in western California. Pays 
$5 for stories. 

Inland Storekeeper, Byxbee Publishing Co., Chicago: 
Desires articles up to 3,000 words covering advertis- 
ing plans and schemes. 

System, Madison and Wabash, Chicago: Buys accounts 
of shortcuts in office and factory system. Desires 
photographs of unusual window displays, advertising 
stunts* etc. 

Iowa Factories, 611 Crocker Building, Des Moines: De- 
sires material on industries, finance, etc., appealing to 
Iowa manufacturers. 

Commercial Traveler's Magazine, Springfield, Mass.: Con- 
siders material pertaining to life on the road among 
commercial travelers. 

Business, 89 West Fort St., Detroit, Mich.: Wants prac- 
tical business contributions and short snappy stories 
on methods and means. 

Financial World, 18 Broadway, New York: Pays liberal- 
ly for financial stories of value to investors. 

Real Estate Magazine, 165 Broadway, New York: Con- 
siders manuscripts on investments, and methods of 
developing real estate. 

Cincinnati Trade Review, 514 Main St., Cincinnati: 
Articles on window trimming, interior decoration, etc. 

Selling Sense, 151 North Hampton St., Easton, Penn.: 
Buys articles on salesmanship to inspire sales people. 



AUTHORSHIP 115 

PRATERNAL PUBLICATIONS 

Policeman's Monthly, 37 East 28th St., New York: De- 
sires stories pertaining to police and detective work. 

Sample Case, 638 North Park St., Columbus, Ohio: Articles 
on. unusual phases of salesmanship. 

National League Barber, 1925 West Cumberland St., Phila- 
delphia: Pays 2 cents a word for acceptable trade 
material. 



LESSON NUMBER FORTY-NINE 
FISHING, HUNTING AND SPORTING 

Pacific Coast Tennis Review, 107 North Spring St., Los 
Angeles: Desires stories and pictures of tennis 
players. 

Arms and Man, 1502 H St., N. W., Washington, D. C: 
Manuscripts relating to rifle, revolver and shot gun 
shooting, also hunting stories. Pays $3 per column. 

Golfers' Magazine, 1355 Monadnock Building, Chicago: 
Desires good stories of golfing, also photographs of 
prominent golfers. 

Our Dumb Animals, 180 Longwood Ave., Boston: Uses 
stories on all phases of dumb animal life. 

Country Life in America, Garden City, N. Y. : Uses ma- 
terial on outdoor sports with photographs. 

Field and Stream, 456 Fourth Ave., New York: Uses fic- 
tion serials on western or northern woods and short 
stories. Pays from one-half a cent to 3 cents a word. 

Motor Boating, 119 West 40th St., New York: Desires 
motor boating articles and illustrations. Pays one 
cent a word. 

Outing Magazine, 145 West 36th St., New York: Uses 
little stories of fiction dealing with humor, adventure, 
etc. Purchases unusual outdoor photographs. 

GOSPEL SONG PUBLISHERS 

The following companies publish hundreds of gospel 
song books and many special services for Christmas, 
Easter and Children's Day each year. Each gospel song 
must be a sermon with a striking title. The writer should 
consult and study different collections of gospel. songs in 
preparing for this work. The following publishers and 
composers purchase gospel song poems, complete songs, 
words and music: 

Samuel W. Beazley, 808 Deland Ave., Chicago. 
E. O. Excell, Lakeside Building, Chicago. 
Glad Tidings Publishing Company, 602 Lakeside Building, 
. Chicago. 

Hope Publishing Company, 150 Michigan Ave., Chicago. 
Meggs Publishing Co., 222 East Ohio St., Indianapolis. 
Biglow & Main Co., 156 Fifth Ave., New York. 
Hall-Mack, Publishers, 1018 Arch St.. Philadelphia 
John J. Hood, 1024 Arch St., Philadelphia. 
MacCalla & Co., 249 Dock St., Philadelphia. 



V 



116 JOURNALISM 

HARDWARE AND ALLIED TRADES JOURNALS 

Farm Implement News, 701 Masonic Temple, Chicago: 
Desires articles pertaining to the sale and use of 
farm implements. 

National Hardware Bulletin, Argos, Indiana: Articles per- 
taining to retail hardware business. 

American Blacksmith, Sidway Building, Buffalo: Uses 
articles, verse and photographs. 

Hardware Age, 239 West 39th St., New York: Solicits 
accounts of business methods by hardware stores 
with photographs. 

Simple Thinks, Providence, R. I.: Published by Screw 
Machinery Products Corporation. Uses fiction, busi- 
ness and inspirational articles on every-day topics. 



LESSON NUMBER FIFTY 

HOUSEHOLD, WOMEN'S AND ALLIED 
PUBLICATIONS 

The household publications present a growing and 
attractive field for young writers. These magazines are 
read largely by women and children in the home. Conse- 
quently everything that has to do with home life and the 
welfare of the household is of interest to the readers. 

It is well for the writer to examine the different de- 
partments in the publications listed below. He should 
read them for hints and suggestions as well as informa- 
tion on the kind of material desired. 

Woman's World, 107 South Clinton St., Chicago: Uses 
short fiction, verse and serials. Also short stories of 
1,500 words and verse for children. 

Mother's Magazine, Elgin, Illinois: Uses material per- 
taining to mothers and the home. 

American Motherhood, Cooperstown, New York: Desires 
stories and articles of home life and child welfare. 

Good Housekeeping Magazine, 119 West 40th St., New 
York: Original and useful ideas for Discoveries De- 
partment of the magazine. 

Harper's Bazar, 119 West 40th St., New York: Uses 
appropriate articles for women. 
\/Housewife, 30 Irving Place, New York: Material to en- 
tertain and help busy women. Also short stories. 

Delineator, Spring and Macdougal Sts., New York: Uses 
short stories with well developed plots of interest to 
women. 

Ladies' World, 4th Ave. and 20th St., New York: Love 
or adventure stories with love interest, 2,500 to 5,000, 
words, serials and storiettes and other material. 

McCall's Magazine, 236 West 37th St., New York: Uses 
short stories and entertaining serials of feminine in- 
terest. 

People's Home Journal, 23 City Hall Place, New York: 
Desires short stories and serials, feature articles, etc. 



AUTHORSHIP 117 

Pictorial Review, 222 West 39th St., New York: Uses 
serials, short stories, and articles of general nature 
helpful to women. 

Woman's Home Companion, 381 Fourth Ave., New York: 
Uses serials, short stories, juvenile fiction, verse, etc. 

^Woman's Magazine, No. 3 Macdougal St., New York: 
Uses illustrated articles, short stories, and good poetry. 
York. 

Ladies' Home Journal, Philadelphia: Uses stories and 
serials, special articles and verse. Also material for 
its different departments. 

Holland's Magazine, Dallas, Texas: Uses stories of love, 

\j adventure and fantasy up to 5,000 words. Buys photo- 
graphs of flowers, landscapes and subjects of interest 
to women and" children. 

HUMOROUS MARKETS 
Ginger, Duluth, Minn.: Buys jokes, especially those re- 
lating to food products. 
Illustrated Sunday Magazine, 193 Main St., Buffalo: Uses 

anecdotes of well-known people and other humorous 

material. 
National Magazine, 202 Main St., Buffalo: Offers a prize 

of $5 and $1 for each accepted funny story. 
Collier's Weekly, 416 West 13th St., New York: Uses 

fresh anecdotes and humorous verse. Pays 10 cents 

a word. 
Everybody's Magazine, Spring and Macdougall Sts., New 

York: Uses old and new jokes. 
Life, 17 West 31st St., New York: Uses light and humor- 
ous stories from -1,000 to 3,000 words. 
Lippincott's Monthly Magazine, 31 Union Square New 

York: Uses jokes and original verses and anecdotes. 
Magazine of Fun, 225 Fifth Ave., New York: Offers a 

first prize of $5, a second of $3 and a third of $2 for 

"The Funniest Jokes Ever Heard." 
Puck, 301 Lafayette St.,_ New York: Pays the highest 

prices for satire, brilliant wit, and the cleverest stories. 
New York World Joke Book, World Building, New York: 

Uses jests, jingles, epigrams and anecdotes. 
Woman's Home Companion, 381 Fourth Ave., New York: 

Uses epigrams, jokes and verses of all kinds. 
Country Gentleman, Independent Square, Philadelphia: 

Accepts humorous material, prose and verse of 

suburban savor. 
Ladies' Home Journal, Independent Square, Philadelphia: 

Pays $1 each for old and new jokes. 
Saturday Evening Post, Independent Square, Philadelphia: 

Uses jokes and anecdotes of prominent persons. 



LESSON NUMBER FIFTY-ONE 

JUVENILE PERIODICALS 
Young People's Weekly, David C. Cook, publisher, 1142 
Wrightwood Ave., Chicago: Uses many wholesome 
stories of young people who have made good, with 
photographs. 



118 JOURNALISM 

Mayflower, Pilgrim Press, Boston: Uses child-poems, 
and pays $2 apiece. 

Youth's Companion, 201 Columbus Ave., Boston: Pays 
well for suitable short stories for boys and girls or 
the household, also humorous stories, stories of ad- 
venture, etc. 

American Boy, Detroit, Mich.: Buys juvenile fiction suit- 
able for boys between 9 and 18 years. Photographs 
of outdoor scenes and subjects interesting to boys 
are purchased at $1 each. 

Schoolmate, Floral Park, New York: Desires articles on 
athletics, hygiene, etc. 

Boys' Life, The Boy Scouts' magazine, 200 Fifth Ave., 
New York: Desires stories with plenty of action and 
human interest. 

John Martin's Book, Garden City, New York: In the 
market for exceptionally good children's material. 
Pays $2.50 to $5 per printed page and from $1 to $5 
each for verse. 

Boy's Magazine, Smethport, New York. Uses short 
stories full of healthy and exciting incidents appeal- 
ing to boys. 

MAIL ORDER MAGAZINES 

The mail order magazine is usually read by rural 
people who do their buying largely through the mails. 
They do not often pay high rates for material. 
Chicago Ledger, 500 Dearborn St., Chicago: Buys serials 

and short stories paying $2.50 a 1,000 words for serials 

and from $10 to $25 for short stories. 
Household Guest, 501 Plymouth Court, Chicago: Offers 

prizes of $3, $2 and $1 for the best letters submitted 

to its "Golden Hour Club" Department. 
Comfort, Augusta, Maine. Uses bright, smart short 

stories of a very interesting nature, also occasional 

stories for the different seasons. 
Grit, Williamsport, Penn.: Offers weekly prizes of $3, $2 

and $1 for letters for its people's forum department. 

Uses photographs and tsories of men who do things. 

MARKETS FOR POST CARDS, CALENDARS AND 
ADVERTISING MATERIAL 

The following firms purchase verses and mottos for 
use with post cards, calendars, gift books, etc. 

Paul Elder, San Francisco. 

Edward H. Mitchell, 3363 Army St., San Francisco. 
Curt Teich & Co., 1742 Irving Park Blvd., Chicago. 
Lambin-Frederickson Co., 538 South Dearborn St., 

Chicago. 
T. S. McGrath, 38 South Dearborn St., Chicago. 
P. G. Volland & Co., 100 Michigan Ave., Chicago. 
Keadma Publishing Co., Rogers Park, Illinois. 
A. M. Davis Co., 530 Atlantic Ave., Boston. 
George C. Whitney Co., Worcester, Mass. 
Shaw Advertising Co., 110 West 3rd St., Kansas City, Mo. 
George W. Parker Art Co., Minneapolis. 
F. A. Owen Publishing Co., Dansville, N. Y. 



AUTHORSHIP 119 

Owen Card Publishing Co., Elmira. N. Y. 
Gibson Art Co., 200 Fifth Ave., New York. 
International Art Publishing Co., 315 Fourth Ave., New 

York. 
Thompson-Smith Co., 263 Fifth Ave., New York. 
Keating Card Co., 715 Sansom St., Philadelphia. 



LESSON NUMBER FIFTY-TWO 

MARKETS FOR PHOTOGRAPHS 

The use of photographs by magazines and other pub- 
lications is constantly increasing. Many periodicals are 
buying separate photos and others pay well for photos 
with brief stories woven around the subject. One of our 

students, who was a salesman before he took our course, 
> 

is now receiving a good income by taking pictures of 
unusual things, inventions, engineering feats, mechanical 
appliances and motion picture stunts, and selling them 
with a brief story, to a varied list of magazines. 

Sunset Magazine, San Francisco. 

Popular Mechanics Magazine, 6 North Michigan Ave., 
Chicago. 

National Geographic Magazine, 16th and M Sts., Washing- 
ton, D. C. 

System, Wabash and Madison, Chicago. 

Technical World Magazine, 58th and Drexel Ave., Chicago. 

Youth's Companian, Boston. 

American Boy, Detroit. 

World's Work, Garden Ctiy, New York. 

Collier's Weekly, New York. 

Doubleday, Page and Co., New York. 

Independent, 119 W. 40th St., New York. 

Country Gentleman, Philadelphia. 

Holland's Magazine, Dallas, Texas. 

If you wish to place photos through agencies we 

would refer you to the following companies who handle 

photographs: 

Underwood & Underwood, 417 Fifth Ave., New York. 
Brown Brothers, Longacre Bldg., New York. 
International News Service, 239 William St., New York. 
World Feature Service, 200 Fifth Ave., New York. 
Paul Thompson, 10 Spruce St., New York. 
Janet M. Cummings, 70 Fifth Ave., New York. 

Your local photographer will enlarge your prints at 
little expense. 5x7 is a good size to send out. They 
should be given a slossy surface for cuts. Each subject 
with its story may be sent to several publications provid- 
ing pictures are taken from different angles and the 
stories varied. When they are sent to local publications 
widely separated this precaution is not necessary. The 
same picture and story may be sent to several periodicals. 



120 JOURNALISM 

Rare stock photos may be also used for this purpose 
but it is best to avoid post-card pictures of wide circula- 
tion. In addition to the following list you should note 
the publications in the general lists which purchase 
photographs. The prospective seller should examine all 
these magazines for apropriate markets. 

MILITARY AND MARINE PUBLICATINS 
Army and Navy News, Chronicle Bldg., San Francisco: 

Monthly. Uses illustrated articles of west coast 

interest. 
Boat Buyer, New York. Uses manuscripts on plans of 

boats, etc. 
International Marine Engineering, 17 Battery Place, New 

York: Uses Illustrated articles with an appeal to 

men who build or operate power-driven vessels. 
Our Navy, Woolworth Bldg., New York: Pays standard 

prices for illustrated feature articles pertaining- to 

the U. S. Navy. 



LESSON NUMBER FIFTY-THREE 

MOVING PICTURE JOURNALS 
Photoplay Art Magazine, Los Angeles. 
Photoplay Magazine, 8 South Dearborn St., Chicago. 
Motion Picture Magazine, 175 Duffield St., Brooklyn, N. Y. 
Moving Picture News, 220 West 42nd St., New York. 
Moving Picture Stories, 168 West 23rd St., New York. 
Moving Picture World, 17 Madison Ave., New York. 
Photo-Play Journal, Land Title Bldg., Philadelphia. 
The Photo Play World, Philadelphia. 
Picture-Play Magazine, 78 Seventh Ave., New York. 

MUSIC* PUBLICATIONS AND PUBLISHERS 
Musical Leader, Chicago: Uses articles concerned with 

music. 
Piano Magazine, 608 Dearborn St., Chicago: Articles of 

interest to the manufacturer, seller or buyer of pianos. 
Musician, 150 Tremont St., Boston: Uses articles which 

help the musician or the music business. 
Etude, Presser Bldg., Philadelphia: Uses articles appro- 
priate to a musical home journal, preferably from 

300 to 700 words. • 
Musical Visitor, Lawrenceburg, Tenn.: Devoted to music, 

poetry and good home literature. 
High Class Music 

A distinction is made between publishers of High 
Class and Popular music to indicate those who handle 
"classical" and those who publish "popular" music and 
songs. 
Boosey & Co., 9 E. 17th St., New York: Publishers of 

books on music. 
Boston Music Co., 26 West St., Boston: Vocal music, 

church anthems, etc. 



AUTHORSHIP 121 

Ditson, C. H. & Co., 8 E 34th St., New York: Desires 

manuscripts from composers also song poems with 

music. 
Ditson & Co., Oliver, 150 Tremont St., Boston: Will 

examine unpublished compositions; Do not use words 

without music. 
Gamble Hinged Music Co., 67 East Van Buren St., 

Chicago: Popular music of superior grade, concert 

compositions, etc. 
Lorenz Publishing Co., Dayton, Ohio: Publishes anthems, 

gospel hymns, cantatas, etc. 

Popular Music — Including Song Poems 

Abrahams, Maurice Music Co., 1570 Broadway, New York. 
Broadway Music Corporation, 145 West 45th St., New 

York. 
Crown Music Co., 1437 Broadway, New York. 
Ellis & Co., 145 North Clark St., Chicago. 
Feist, Leo, 235 West 40th St., New York. 
Gordon, H. S., 145 West 36th St., New York. 
Harms, T. B., 62 West 45th, New York. 
Harris, Charles K., 701 Seventh Ave., New York. 
Morris, Jos., 145 West 45th St., New York- 
Morse, Theo., Music Co., 143 West 40th St., New York. 
Rositer, Will, 1581 Broadway, New York. 
Stern, Jos., & Co., 106 West 38th St., New York. 
Vandersloot Music Co., W T illiamsport, Pa. 
Von Tilzer, Albert, 1367 Broadway, New York. 
Wenrich-Howard Music Co., Columbia Theatre Bldg., 

New York. 
Witmark, M. & Sons, 144 West 37th St., New York. 
Woodward, Willis & Co., 1193 Broadway, N.ew York. 



LESSON NUMBER FIFTY-FOUR 

MUNICIPAL PUBLICATIONS 
American City, 87 Nassau St., New York. Address editor 

for requirements. 
Greater City, 45 Cedar St., New York: Published monthly 

by civic experts. Uses material on civic betterment 

subjects with cuts or photos. 
Municipal Journal and Engineer, 50 Union Square, New 

York: Weekly. Pays for special articles and letters 

discussing municipal affairs. 

NEWSPAPERS 

We list the most prominent city newspapers but can- 
not mention all the American newspapers which purchase 
stories and other manuscripts. The student should keep in 
touch, through the public library or direct communication, 
with all the papers in his vicinity with which he wishes 
to deal. 

Ayer's Newspaper Directory may be consulted in a 
public library or local newspaper office. It gives a com- 
plete alphabetical list of papers with large circulation, 
also name of publisher. 



122 JOURNALISM 

Call, San Francisco: Offers a first prize of $5, a second 
of $3, and third of $2, for best "cooking receipts" sub- 
_ mitted each month. * 

Daily News, Chicago: Accepts occasional poems, anec- 
dotes, sketches. 

Tribune, Chicago: In the market for feature stories for 
woman's section. Offers $5, every week for best per- 
sonal experience of a worker. 

Christian Science Monitor, Boston: Buys illustrated 
news articles and articles of public improvements. 

Post, Boston: Offers weekly prizes for original stories of 
$10, $5 and $2. 

Sunday Globe, Boston: Pays $5 a column for articles, 
preferably with photographs, of New England or 
national significance. 

Transcript, Boston: Pays $8, a column for articles of 
3,000 words on topics of national interest. 

Free Press, Detroit: In the market for short feature 
stories on phases of Michigan life. 

Star, Kansas City, Mo.: Buys feature articles for Sunday 
edition. Also purchases photographs. 

News, Buffalo: Pays promptly for illustrated special 
articles. 

Sunday Express, Buffalo: A market for illustrated travel 
articles. 

New York Times, New York: Buys verses, jokes, epi- 
grams and paragraph fillers and one poem daily of 
timely appeal. Also articles for Sunday edition. 

Sun, New York: Purchases short articles for boys' and 
girls' page. Pays $5 for poems. 

Morning Telegraph, New York: Buys "feature stuff," 
verse and fiction of theatrical and sporting nature. 

Inquirer, Philadelphia. Buys illustrated feature stories of 
national and human interest. 

North American, Philadelphia: Buys general feature 
stories. 

Public Ledger, Independence Square, Philadelphia: Buys 
timely photos covering news events. Also material 
of interest to women and Sunday features. 

Record, Philadelphia: Buys children's verses and stories 
for juvenile section. Also feature stories on news of 
the day. Pays $5 per column and $1 per photograph. 

Press, Pittsburgh: Buys special news articles and photos 
of timely value. 

Pittsburgh Bulletin: In the market for society items of 
interest and illustrated travel articles of 1,600 words. 



LESSON NUMBER FIFTY-FIVE 

PHOTOPLAY MARKETS 

As photoplay companies frequently combine and 
change their requirements, it would be well for the writer 
to communicate with the companies before submitting 
material to ascertain their needs. He should also fre- 
quently consult the trade magazines, as listed in this 
section under MOVING PICTURE JOURNALS, for 
information concerning the companies and releases. 



AUTHORSHIP 123 

American Film Manufacturing Co., Santa Barbara, Cal. 

Arrow Film Co., 25 West 45th St., New York. 

Balboa Amusement Producing Co., Long Beach, Cal. 

Biograph Company, Georgia and Gerard Sts., Los Angeles. 

Bluebird Photoplays (Universal), 1600 Broadway, New 
York. 

Brady, William A. (World), 130 West 46th St., New York. 

Christie Film Corporation, Gower St., Hollywood, Cal. 

Edison, 2826 Decatur Ave., N#w York. 

Fox Film Co., 130 West 46th St., New York, also Holly- 
wood, Cal. 

Frohman Amusement Corporation, 18 E. 41st St., New 
York. 

Gaumont Company, Congress Ave.. Flushing, Long Island. 

Horsley, David, Hollywood, Cal. 

Kay-Bee Film Co., Culver City, Cal. 

Keystone Film Co., 1712 Allesandro St., Los Angeles. 

Kalem Film Co., Glendale, Cal. 

Lasky-Famous Players, Hollywood, Cal., and 485 Fifth 
Ave., New York. 

Lubin Manufacturing Co., Indiana Ave., Philadelphia. 

Mammouth Film Corporation, 126 West 46th St., New 
York. 

Morosco Photoplay Co., 22 West 42nd St., New York. 

Mutual Film Corporation, 4500 Sunset Blvd., Los Angeles. 

New York Motion Picture Corporation, Santa Monica, 
Cal. 

Pallas Pictures, 205 N. Occidental Blvd., Los Angeles. 

Pathe, Congress St., Jersey City, N. J. 

Rolfe Photoplays, 3 West 61st St.. New York. 

Sanger Photoplays Corporation, 33 West 42nd St., New 
York. 

Selig Polyscope Company, Garland Bldg., Chicago. 

Signal Film Corporation, 4560 Pasadena Ave., Los An- 
geles. 

Thanhouser Film Corporation, New Rochelle, New York. 

Universal Film Manufacturing Co., Universal City, Cal. 

Vitagraph Company, East 15th and Locust Ave., Brooklyn, 
New York. 

World Film Corporation, 130 West 46th St., New York. 

POULTRY JOURNALS 

Pacific Poultrycraft, Higgins §ldg., Los Angeles: Uses 

brief articles on poultry breeding and management. 
Western Poultry, Lewiston, Idaho. Uses articles and 

photos. 
American Poultry Journal, 542 South Dearborn St., 

Chicago: In the market for live poultry material. 
Poultry Culture, Topeka, Kansas: Buys articles and 

photos on poultry. 
Profitable Poultry, 29 Central St., Boston: Pays half a 

cent a word for first-class articles on poultry. 
American Poultry Instructor, 59 Market St., Grand Rapids, 

Mich. : Considers drawings, photos and instructive 
. poultry articles. 
American Poultryman, Lincoln, Neb.: Prefers articles five 

lo six hundred words, preferably illustrated. Also 

short stories, verses and jokes. 



124 JOURNALISM 

LESSON NUMBER FORTY-SIX 

RELIGIOUS PUBLICATIONS 

California Christian Advocate, 5 City Hall Ave., San Fran- 
cisco: Methodist weekly. Occasionally buys original 

stories. 
Continent, 509 South Wabash Ave., Chicago: Presbyter- 
ian weekly. Desires Stories for adults and children. 

Also women's articles. 
Extension, Drawer S, Chicago: Catholic monthly. Uses 

short stories, verse and illustrated articles. 
Northwestern Christian Advocate, 1020 S. Wabash Ave., 

Chicago: Methodist weekly. Purchases material for 

"Higher Life" department. 
Dew Drops, Elgin, 111.: Needs Sunday School stories for 

children of three to four hundred words. 
Home Department Visitor, Elgin, 111.: Buys articles on 

home department methods, short stories and appro- 
priate incidents. 
New Century Sunday School Teacher, Elgin, 111. Buys 

articles on proved methods of Sunday School class 

work. 
What To Do, Elgin, 111.: Sunday School paper for children. 

Desires plot stories of from 1,000 to 2,000 words. 

Address David C. Cook Pub. Co. 
Union Signal, Evanston, 111.: Organ National W. C. T. U. 

Temperance stories, about 1,500 words and short 

stories, four to ten chapters. 
Christian Family, Techny, 111.: Catholic monthly. Uses 

short stories, verses and illustrated articles. 
Christian Observer, 421 South Third Ave., Louisville, Ky. : 

Presbyterian family weekly. Considers material for 

"Home Circle" and "Our Little Ones" also some short 

stories. 
Beacon, 25 Beacon St., Boston; Unitarian Sunday School 

weekly for young people. Wants strong human 

interest stories. 
Christian Endeavor World, 31 Mount Vernon St., Boston: 

Organ International Y. P. S. C. E. Wants illustrated 

articles on timely themes, good stories, poetry and 

short pointed essays. 
Congregationalist, 14 Beacon St., Boston: Weekly. Pays 

half a cent a word for, material of interest to women 

and children and uplift material for Christian Work 

department. 
Wellspring, 14 Beacon St., Boston. Congregationalist 

weekly for young people. Good market for incidents 

and paragraphs of 300 to 1,000 words. 
Junior Christian Endeavor World, 31 Mount Vernon St., 

Boston: A market for brief stories and articles for 

voung people about fifteen years old. 
Zion's Herald, 581 Boylston St., Boston: Methodist 

weekly. Pays $3 per 1,000 words for religious and 

family material, also poems and special day stories. 
Round Table, 2710 Pine St., St. Louis, Mo.: Christian 

weekly for boys. Buys short and serial stories. 
Social Circle, 2710 Pine St., St. Louis, Mo.: Christian 

weekly for girls. Uses serials and short stories. 



AUTHORSHIP 125 

American Messenger, Park Ave. and 40th St., New York: 
Pays $4 for 1,000 words for short stories, verse and 
serials of uplift nature. 

Christian Herald, 91 Bible House, New York: Uses first- 
class optimistic short stories. Pays $5 to $15, for 
cover photographs and $2 to $2.50 for text photos. 

Sunday School Journal, Cincinnati: Methodist monthly. 
Pays liberally for articles on Sunday School methods 
and new ideas for Sunday School teachers. 

Sunday School Times, 1031 Walnut St., Philadelphia: Uses 
stories, verse and Sunday School material. 

Young People, 1701 Chestnut St., Philadelphia: Baptist 
weekly. Short stories and serials. 

Youth's World, 1701 Chestnut St., Philadelphia; Baptist 
monthly for boys. Uses short stories for boys. 



LESSON NUMBER FIFTY-SEVEN 

STANDARD MAGAZINES AND OTHER 
PUBLICATIONS 
Buy material as indicated in the list. 

These magazines are always looking for articles and 
fiction of the highest type. We have specified, as far as 
we have been able to learn, the kind of material desired 
by each publication and the rates paid. As in the fore- 
going lists, we have attempted to eliminate all publica- 
tions which do not pay for material and those which pay 
by subscription or in any thing but cash. 

In sending material the writer should first examine 
copies of the magazine, when convenient, and decide just 
which publications are using material similar to that which 
he has to offer. Whenever it is not convenient for the 
writer to consult the magazines at a public library he can 
usually look them over at news stands or book stores. By 
purchasing a copy of a different magazine each month and 
reading it carefully he will keep in touch with the nature 
of material used and the policy of the publishers. The best 
known magazines usually pay from two to five cents a 
word to new writers. Famous authors, of course, receive 
much higher rates. 

Ainslee's Magazine, 79 Seventh Ave., New York: Always 
wants love stories, good adventure fiction of literary 
merit. Uses complete novel monthly, light verse and 
poetry. Pays on acceptance. 
• All-Story Weekly, 8 West 40th St., New York: Wants all 
kinds of fiction, preferably stories with strong 
dramatic values and plenty of action. 

American Magazine, 381" Fourth Ave., New York: Buys 
short stories, serials, novels, serious and humorous 
poems. Also illustrated material for department — 
"Interesting Peeople." 



126 JOURNALISM 

American Sunday Magazine, 119 West 40th St., New York: 

Monthly. Desir.es stories of about 1,700 words about 
worth-while people. Pays two cents a word. 
Argosy, 8 West 40th St., New York. Desires entertaining 
and thrilling stories. Adventure more essential than 

love element. Short stories, serials and novels. 
Associated Sunday Magazines, 95 Madison Ave., New 

York: Weekly. Wants ideal short stories with action, 

plot and literary finish, appealing to Sunday newspaper 

readers. 
Argonaut, 406 Sutter St., San Francisco: Uses short 

stories with western setting of life and action. 
Adventure, Spring and Macdougle Sts., New York: Wants 

stories of action, simply and clearly told; fiction of 

any length. Welcomes new writers. 
Atlantic Monthly, 4 Park St., Boston: Uses articles on 

politics, art, science and literature of exceptional lit- 
erary merit. Pays on acceptance. 
Blue Book, North American Bldg., Chicago: Desires love 

and adventure stories with love element, also novels. 
Black Cat, Salem, Mass. Desires clean original short 

stories, 1,500 to 5,000 words. 
Bookman, 443 Fourth Ave., New York: Uses anecdotes 

and articles on authors. Desires strong literary articles. 
Browning's Magazine, Cooper Square, New York: Offers 

prizes for photos. Pays cash for jokes and brief 

verse. 
Century Magazine, 353 Fourth Ave., New York: Buys 

serials and short stories of literary excellence, humor- 
ous material, sketches, jokes and verse. 
Clever Stories, 331 Fourth Ave., New York: Quarterly, 

uses a novelette, short stories, verses and epigrams. 
Collier's Weekly, 416 West 13th St., New York: Buys 

short stories and a serial. Pays well for articles, 

anecdotes, jokes and humorous verse. 
Cosmopolitan Magazine, 119 West Fortieth St., New York: 

Prefers ultra modern fiction. Theme, plot, characters 

and style must be up-to-date. Pays highest prices. 
California Outlook, 524 South Spring St., Los Angeles: 

Uses brief California articles, preferably illustrated. 

Pays on publication. 
Canada Monthly, London, Ontario: Desires special art- 
icles dealing with Canadian life problems. Pays from 

one to three cents a word. 
Drama, 736 Marquette Bldg., Chicago: Pays $5 to $10 a 

thousand words for articles relating to the drama. 
Dramatic Mirror, 1493 Broadway, New York: Pays $4 a 

column for material dealing with the theatre and its 

profession. 
Everybody's Magazine, Spring and Macdougal Sts., New 

York: Wants especially good humorous and love 

stories. Pays on acceptance. 
Every Week, 95 Madison Ave., New York: A three cent 

weekly — buys stories, feature articles and photographs. 
Forum, 32 West 58th St., New York: Uses short stories, 

poems and essays of high literary standard. 
Green Book Magazine, North American Bldg., Chicago: 

Uses stories and articles relating to the theatre. 



AUTHORSHIP 127 

Harper's Monthly Magazine, Franklin Square, New York: 
Uses serials and short stories of high literary excell- 
ence. Buys short articles and verse. Pays well. 

Hearst's Magazine, 119 West 40th St., New York: Buys 
high-class fiction, jokes, poems. Pays highest prices. 

Independent and Harpers Weekly, New York City: Time- 
ly articles and photographs. 



LESSON NUMBER FIFTY-EIGHT 

STANDARD PUBLICATIONS 

Leslie's Weekly, 225 Fifth Ave., New York: Buys short 
stories of about 2,000 words with adventure flavor 
and photos of current events. 

Lippincott's Monthly Magazine, 31 Union Square, New 
York: Desires gripping short stories and serials. 

Live Stories, 79 Seventh Ave., New York: Illustrated 
monthly. Serials and vital short stories. 

McClure's Magazine, Fourth Ave. and 20th St., New York: 
Uses serials, short stories and optimistic articles. 

Metropolitan Magazine, 432 Fourth Ave., New York: 
Buys short stories, a serial, poems, articles and 
sketches of unusual people. 

Munsey's Magazine, 8 West 40th St., New York: Buys 
human interest fiction, storiettes and a book-length 
novel for each issue. Pays well. 

New Story Magazine, 79 Seventh Ave., New York: Uses 
a complete novel each issue, short stories, a serial 
and verse. 

Overland Monthly, 21 Sutter St., San Francisco: Stories 
with western flavor. 

Outlook, 287 Fourth Ave., New York: Desires well writ- 
ten articles from personal knowledge on current 
topics. 

Parisienne, 331 Fourth Ave., New York: Uses stories 
and poems. 

Pearson's Magazine, 435 East 24th St., New York: Offers 
attractive market for clean-cut stories and informing 
articles. 

People's Magazine, 79 Seventh Ave., New York: Uses 
complete novels and serial novels. 

Popular Magazine, 79 Seventh Ave., New York: Semi- 
monthly. Stories of adventure, mystery and humor 
with much action; a complete novel. 

Poetry, A Magazine of Verse, 543 Cass St., Chicago: All 
kinds of verse purchased; that with modern cast espe- 
cially desired. 

Popular Mechanics Magazine, 6 No. Michigan Ave., Chi- 
cago: Accepts photos and illustrated articles on 
"How to Make Things." 

People's Popular Magazine, Des Moines, Iowa: Uses love 
and adventure stories, also illustrated articles on noted 
people. 

Railroad Man's Magazine, 8 West 40th St., New York: 
Live stories of bravery and daring with a railroad set- 
ting, also illustrated stories. 



128 JOURNALISM 

Review of Reviews, 30 Irving Place, New York: Uses spe- 
cial timely articles. 

Romance, 35 West 39th St., New York: In market for 
short stories, short novelettes, verse and serials. 

Red Book Magazine, North Am. Building, Chicago: Uses 
short fiction of best quality, and serials. 

Scientific American, Woolworth Building, New York: De- 
sires short scientific articles and photos. 

Scribner's Magazine, 597 Fifth Ave., New York: Accepts 

short stories, a serial and poems. 

Smart Set, 331 Fourth Ave., New York: Uses love, ad- 
venture, fantastic and society stories from 500 to 15,- 
000 words. 

Smith's Magazine, 79 Seventh Ave., New York: Uses 
wholesome up-to-date stories and poems. 

Snappy Stories, 35 West 39th St., New York: Uses short 
novelettes and stories with plots concerning American 
life. 

Strand Magazine, 83-85 Duane St., New York: Pays $75 to 
$200 for short stories up to 6000 words. 

Sunset Magazine, Sunset Building, San Francisco: De- 
sires material reflecting the life of the Pacific Coast. 
Pays well for the best fiction. 

Saturday Evening Post, Independence Square, Philadel- 
phia: Uses stories of business, enterprise and love 
of American setting. Pays well. 

Tip-Top Semi-Monthly, 79 Seventh Ave., New York: Uses 
short stories, serials and a complete story,, all of the 
gripping nature. 

Top Notch, 79 Seventh Ave., New York: Semi-monthly, 
of special interest to young men. Uses a complete 
novel and short stories. 

Town Topics, 2 West 45th St., New York: Uses light 
and humorous poems. 

Travel, 31 East 17th St., New York: Uses articles on 
travel illustrated by photographs. 

Vanity Fair, 449 Fourth Ave., New York: Mirrors the 
progress of American life. 

World's Advance, 239 Fourth Ave., New York: Uses ma- 
terial bearing upon electrical and mechanical advance- 
ment. Buys photos. Pays promptly. 

World's Work, Garden City, L. I.: Prefers stories with 
strong original plots and much action, also timely 
short articles. 

Young's Magazine, 15 West 20th St., New York: Realistic 
short stories showing life as it should be, are wanted. 



LESSON NUMBER FIFTY-NINE 
SYNDICATES 

The syndicate is a modern product of the newspaper 
and magazine world. 

Syndication is an efficient method of a wide reading 
and good compensation for one's material. Instead of 
selling a story or article to one magazine only, by syndi- 
cating his material the writer sells it to twenty or thirty 



AUTHORSHIP 129 

publications in widely different parts of the country. These 
publications are usually Sunday papers or supplements 
in which the article appears on the same date. While the 
price received from any one of these publications is con- 
siderably less than one would expect from its single pub- 
lication the aggregate amount received is usually more 
than could be expected when sold exclusively to one edi- 
tor. 

The following syndicates have been found to be relia- 
ble: 

Associated Newspapers, Singer Building, New York: Sup- 
plies leading evening newspapers throughout the coun- 
try with educational, literary, entertaining and humor- 
ous articles, preferably in series. 
American Press Association, 225 West 39th St., New York: 
Buys short stories, news and feature photos. Pays 
$1.50 for single column and $2 for double column 
photos. 
George Matthew Adams, 8 West 40th St., New York. 
Bell Syndicate, World Building, New York. 
Central Press, Cleveland ,Ohio: Buys photos of news in- 
terest with explanatory lines. 
William G. Chapman, 118 North LaSalle St., Chicago. 
McClure Newspaper Syndicate, 45 West 34th St., New 
York: Buys short fiction with strong love element. 
Newspaper Enterprise Association, Chicago: Buys quaint 

and unusual photos for syndicating. 
Newspaper Feature Service, 41 Park Row, New York: 

Buys serial manuscript, drawings and photos. 
Publishers' News-Features Syndicate, 38 Park Row, New 

York. 
United Press Syndicate, San Francisco, Los Angeles: Con- 
siders fiction, photographs and poems submitted by 
students of the College of Authorship. 
Western Newspaper Union, 210 South Desplaines St., Chi- 
cago: Buys fiction for syndication in dailies and 
weeklies. 



LESSON NUMBER SIXTY 

THEATRICAL PRODUCERS 
Markets For Plays 

Morosco, Oliver, 748 South Broadway, Los Angeles. 
Belasco, David, 115 West 44th St., New York. 
Brady, William A., 137 West 48th St., New York. 
Harris & Selwyn, 139 West 44th St., New York. 
Frohman, Daniel, 149 West 45th St., New York. 
Shubert, Sam S. and Lee, 225 West 44th St., New York. 
Little Theater, Philadelphia: Produces plays of unknown 
playwrights. 






NOTE 

We wish to express our obligation to the pub- 
lishers from whom the information in these lists has been 
received. And we desire to make special acknowledgment 
to The Editor Company of Ridgewood, New Jersey, for 
the help in this work derived from their two excellent new 
books, "88 Ways to Make Money by Writing," by Homer 
Croy, and "1001 Places to Sell Manuscripts," by William 
R. Kane. 

We are also grateful to all who have contributed in 
any way to the information in these books. 

Our desire in preparing these lessons has been to help 
young writers to help themselves. They in turn will help 
others through their writings. 

Thus we all shall contribute something to the world's 
uplift and the sum total of human happiness. 

Special Courses 

Our aim in preparing these lessons has been to pre- 
sent as compact and helpful a volume as possible. As 
this is a student's hand-book it has been necessary, in 
treating so many important subjects, to give the essen- 
tial principles and facts and omit all superfluous verbage, 

These lessons are designed to prepare the writer to 
do successful work in every department covered. How- 
ever, for those who desire to specialize in the fields, which 
will probably yield the greatest financial returns in the 
shortest time, such as Short Story Writing, Journalism, 
and Photoplay Writing, we present special courses. These 
courses have been prepared by experts who have achieved 
marked success in their respective fields. The instruction 
is contained in attractive, bound volumes and is based upon 
the actual experience of the authors. It is accompanied 
by special lesson instructions for home study, and the 
student has his stories, articles, and lesson papers criti- 
cised and corrected free of extra charge. 

Therefore, if you want to master Journalism, Short 
Story Writing or Photoplay Writing thoroughly, receive 
the best training and prepare for your greatest success, 
we shall be pleased to send you full information. We 
have no books to sell, but we have information to impart 
and help to offer which should be of priceless value. 

State the subjects in which you are most deeply in- 
terested and address 

DR. E. HARVEY HADLOCK, President 

COLLEGE OF AUTHORSHIP 

Los Angeles, California. 



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